Previous Explorations
During my time in university, my work went through a significant transformation as I explored a wide range of mediums, techniques, and concepts. I constantly experimented-driven by curiosity and a desire to find my visual voice. My earlier pieces often reflected the academic structure around me, but they also served as a foundation for personal growth. Over time, my focus shifted from purely technical exploration to creating work that feels more emotionally and culturally rooted. Now, my art is deeply intentional, often tied to themes of cultural identity, heritage, and power. Looking back, I can see how each phase of experimentation brought me closer to the voice I now carry with confidence.
Facing 1, 2023
Acrylic, Charcoal on paper
20 x 24 inches
Exploring emotional fragmentation, two faces emerge against a stark black background-intertwined yet pulling apart like mitosis. The heads are captured in a moment of raw transition. Their mouths are frozen mid-scream in pain from the resistance, while their eyes remain somber, almost resigned.
This piece reflects the duality of inner transformation: the violence of change paired with the quiet acceptance of what's inevitable. I invite you to consider what it means to face oneself-especially when parts of that self are breaking away.
Facing 2, 2023
Acrylic, Charcoal on paper
20 x 24 inches
Continuing with the theme of separation, the dynamic shifts as we move towards a more surreal disconnection.
One head confronts the viewer directly, though pupil-less creating an unsettling, vacant gaze. It's presence that sees without sight-anchored, yet unreachable. The second head peels away, stretched sideways, reduced to a nose and distorted eyes. It's as though the identity is slipping out out of frame, becoming fragmented, half-formed, and fading.
Where Facing 1 captures the pain of division, Facing 2 lingers in the aftermath: the confusion of what remains and what is lost. The result is a quiet, eerie meditation on disassociation and the fractured nature of self-perception.
Afraid Not, 2023
Oil, Acrylic, Yarn, Cotton shirt on canvas
30 x 40 inches
I combine textile, sculpture, and painting to create a haunting and multidimensional figure emerging from a canvas painted in vibrant violet. The silhouette is hooded and faceless, formed from dark draped fabric, its shape torn through the canvas as though breaking out-or being torn in. The jagged edges emphasize a a sense of rupture or violence, presenting themes of invisibility, erasure, and identity under pressure.
Beneath the central form, black cutouts of reaching hands hang like chains, each hand linked to the next. This motif evokes labor, trauma, and collective memory. The repetition of grasping hands are voices reaching for recognition, solidarity, and liberation.
Fitting In, 2023
Acrylic, Charcoal, Cardboard on canvas
24 x 36 inches
A faceless figure in a bold red dress and black corset stands against a raw collage of cardboard, their body rendered in broad, textured strokes that blend the materials. The figure holds an unfinished sword-a weapon suspended in the process of becoming, symbolizing potential, resistance, or vulnerability. Their other hand is conspicuously absent, further complicating the body's stance between power and loss.
Stripped of hair, skin tone, and defining features, challenging conventional portraiture. Instead of the individual identity, we're given a vessel-one that resists categorization by race, gender, or class. The background, with its utilitarian texture and visible seams, evoke construction and deconstruction, fragility and endurance. A world pieced together, repurposed, and broken.
This figure is neither passive nor fully armed-caught in a state of preparation or transformation. The sword, unfinished: is it a tool for protection, justice, or creation? Or is it metaphor for something inward-self-forging, self-defense, survival?
Here is a tension between empowerment and erasure, autonomy and absence. This work holds space for ambiguity, allowing the viewer to project their own stories onto the figure while still being held at a deliberate distance.
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Glitches in the Brain, 2022
Acrylic on canvas
48 x 36 inches
This large-scale abstract painting takes inspiration from a brain scan, transforming clinical imagery into a raw and emotional landscape. Through expressive brushwork, layered textures, and a frenetic color palette, I visualize the often-invisible realties of anxiety, panic and depression. The result is not a literal rendering, but an internal portrait-one that pulses with intensity and disorientation.
In place of nest symmetry or calm order, the composition pulses wit energy: chaotic marks clash and overlap, resembling neural pathways caught n overdrive. Swaths of dark shades represent depressive fog, while sharper, bold colors evoke jolts of panic or spirals of anxious thought. Despite its abstract nature, the painting speaks a visceral language-one that mirrors the lived experience of mental turbulence.
Untitled, 2022
Acrylic, Neon, Fluorescent paint on canvas
48 x 36 inches
This painting thrusts the viewer into a vortex of color and speed-an abstract interpretation of maladaptive daydream disorder. Using layers of acrylic, neon, and fluorescent paint, I create a disorienting tunnel of motion that recalls the cinematic feel of traveling through hyperspace. But, beneath its hypnotic beauty lies a deeper exploration of escapism, dissociation, and mental fragmentation.
Radiating lines and blurred edges are a mind untethered from the present, pulled into intricate inner worlds as vivid as they are consuming. The fluorescent and neon hues heighten the surreal quality of the piece, mimicking the overstimulated visuals of imagined realms. There's a pulse to this work-alive, electric, and relentless-mirroring the cycle of retreat and return that defines maladaptive daydreaming.
While the tunnel may seem thrilling or transcendent at first glance, the lack of grounding hints at the disorder's darker side: isolation, lost time, and emotional detachment. This piece just doesn't portray daydreaming-it embodies the tension between longing for escape and the difficulty of staying present.
