My work begins with a single recurring symbol — one that first appeared in my graffiti practice as a gesture toward things that close, heal, splice, and disappear. Over time, this symbol became a lens through which I examine the contradictions that structure all existence: vitality and decay, the familiar and the strange, the near and the unreachable.
I work across two interconnected bodies of practice. In my abstract paintings, I construct visual fields where opposing propositions — life and death, emotion and object, dream and reality — are not resolved but held together. The pictorial space becomes a site of reconciliation: sticky, unstable, generative. I am not interested in harmony as erasure, but in symbiosis as a form of sustained tension — a condition where incompatible things learn to coexist without losing their distance.
My graffiti-rooted works draw from hip-hop's legacy of transforming raw, direct expression into a disciplined aesthetic language. Freedom is not incidental to this practice — it is its core demand. The coincidence between my inner need for unbounded expression and graffiti's visual logic unlocked something irreversible in my work: imagery became more layered, more alive, more fully mine.
Across both series, I return to the same belief: difference is not a problem to solve. It is the shape that meaning takes.
