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NOTHING REALLY LEAVES.
VIVID MOTION
(2025) EXPLORES WHAT HAPPENS WHEN A BODY REFUSES TO HOLD A SINGLE SHAPE.
FIGURES SURFACE THROUGH FIELDS OF AGGRESSIVE COLOR ONLY TO DISAPPEAR AGAIN, MAKING VISIBILITY FEEL TEMPORARY RATHER THAN GUARANTEED. THE WORK APPROACHES MOTION NOT AS PHYSICAL MOVEMENT, BUT AS THE CONSTANT REVISION OF HOW A PERSON IS SEEN—BY OTHERS, BY MEMORY, AND BY THEMSELVES.
ACROSS THE COMPOSITIONS, IDENTITY BECOMES FLUID: A FACE CAN BECOME COLOR, A BODY CAN BECOME PATTERN, AND RECOGNITION CAN COLLAPSE INTO ABSTRACTION WITHOUT THE SUBJECT EVER ACTUALLY LEAVING.
VIVID MOTION SUGGESTS THAT PERHAPS WE ARE NEVER AS FIXED AS A PORTRAIT WOULD HAVE US BELIEVE. THE BODY STAYS STILL. THE IMAGE DOESN’T.
BUFFERING LUST
(2019) EXAMINES DESIRE AS SOMETHING EXPERIENCED THROUGH INTERRUPTION, DISTANCE, AND DIGITAL MEDIATION.
ACROSS THREE PROGRESSIVELY SHIFTING IMAGES, THE HUMAN FORM IS FILTERED THROUGH A RIGID GEOMETRIC SYSTEM, MOVING BETWEEN RECOGNITION AND ABSTRACTION AS THOUGH THE BODY ITSELF IS STRUGGLING TO FULLY LOAD. COLOR, SKIN, AND FORM REMAIN PRESENT, YET ACCESS TO THE FIGURE IS DELAYED BY A VISUAL LANGUAGE OF PIXELS, GRIDS, AND FRAGMENTATION.
THE WORK DRAWS ON THE FAMILIAR EXPERIENCE OF BUFFERING, THE SUSPENDED MOMENT BETWEEN WANTING SOMETHING AND RECEIVING IT TO CONSIDER HOW TECHNOLOGY HAS ALTERED INTIMACY, ANTICIPATION, AND THE WAY WE CONSUME THE IMAGE OF ANOTHER PERSON.
BUFFERING LUST LEAVES DESIRE PERPETUALLY IN PROGRESS: VISIBLE ENOUGH TO WANT, INTERRUPTED ENOUGH TO REMAIN UNRESOLVED.
SIGNAL LOSS
(2018) EXAMINES THE DISTANCE BETWEEN THE IMAGE WE PRESENT AND THE IMAGE THAT REMAINS AFTER TRANSLATION.
BEGINNING WITH A PHOTOGRAPH ROOTED IN REFLECTION, POSTURE, AND SELF POSSESSION, THE WORK IS RECONSTRUCTED THROUGH A PIXELATED VISUAL LANGUAGE THAT INTERRUPTS THE CLARITY OF THE ORIGINAL. THE FIGURE REMAINS RECOGNIZABLE, YET DETAIL GIVES WAY TO COLOR, PATTERN, AND FRAGMENTATION, TURNING A PERSONAL IMAGE INTO SOMETHING BETWEEN MEMORY AND DATA.
PRESENTED AS A PAIR, SIGNAL LOSS ASKS WHAT SURVIVES WHEN A PERSON IS REDUCED, REPRODUCED, AND REASSEMBLED AND WHETHER IDENTITY LIVES IN THE DETAILS OF AN IMAGE OR IN THE PRESENCE THAT PERSISTS AFTER THOSE DETAILS ARE GONE.
KARMA IS A BITCH, GOOD LUCK.
(2018) CONFRONTS THE UNEASY RELATIONSHIP BETWEEN MONEY, CONSEQUENCE, AND THE BELIEF THAT EVERYTHING EVENTUALLY COLLECTS ITS DEBT.
LAYERED AND REPEATED CURRENCY TURNS VALUE INTO VISUAL NOISE, WHILE THE HANDWRITTEN DECLARATION CUTS ACROSS IT WITH THE URGENCY OF A WARNING RATHER THAN A PROMISE.
THE WORK TREATS KARMA AS ITS OWN FORM OF CURRENCY SOMETHING EXCHANGED THROUGH ACTION, ACCUMULATED OVER TIME, AND ULTIMATELY RETURNED WITHOUT REGARD FOR STATUS, WEALTH, OR INTENTION.
WHAT APPEARS AT FIRST TO BE ABOUT MONEY BECOMES A MEDITATION ON ACCOUNTABILITY: SOME DEBTS CANNOT BE PAID IN CASH, AND SOME BALANCES SETTLE THEMSELVES.
IF SOMETHING HERE STAYS WITH YOU, SAY SO.
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