This is my gallery—a collection of works seen mostly through a juvenile lens, spanning multiple mediums. Feel it as you wish, and if you're curious, artist notes are available throughout.
Scrap & Photo
* hover over image for artist notes.
HOT ZONE an early piece, captures a moment of raw vulnerability—my attempt to make sense of deep, unmet and unbalanced needs while feeling wholly inadequate in the pursuit of them. Each layer, each fragment, is a reflection of how exposed I felt trying to reach for connection, for validation, for something that might quiet the hunger inside. The piece is chaotic by design—overcrowded, uneven, and reaching—because that’s how it felt: like living in a body that was both too much and never enough, chasing warmth in places that couldn’t hold it.
DON’T PANIC is built like a breakdown—glossy board, torn paper, and personal photos barely holding it together. The piece isn’t about the materials; it’s about the feeling of being exposed, hunted, and slowly unraveled. There’s no safety here. Just the raw nerve of being watched too long, remembered too clearly, and known in ways no one ever asked for. It’s what panic looks like when it has nowhere else to go.
DON’T PANIC is a deeply personal collage composed of real photographs, torn paper, and layered materials mounted on glossy board. (8x7.5in
HOT ZONE is an exploration in collage and mixed media. Textured with heavy applications of paint, the piece integrates personal photographs and ephemera. (12x9 in)
(Unfinished)
This piece captures the ache of being seen but not understood. Built from torn fragments and ghosted imagery, the collage holds a stillness that feels watched. It’s a portrait of sadness and silence.
COVIS is a satirical collage plastered over a watercolor originally meant to evoke peace. During the pandemic, it felt almost natural—even necessary—to deface something calm with political messaging. The world was loud, absurd, and spiraling, and this piece reflects that instinct: to interrupt serenity with chaos, to question the trust we place in images, leaders, and each other.
COVIS is a statical collage on paper, accented with watercolor. (8x8in)
FEAR is a collage on paper, sealed beneath a thin sheen of glue. The glossy finish traps everything in place. (11x8.5)
Digital Collage/Photography
HOLLYWOOD 1 is part of a series about the wonderful absurdity at he intersection of formality, creativity and reality.
Hollywood 1 is a digital collage layer with hand drawing and photography
AT THE SEND OF THE STREET is a piece inspired by the artist youth. Featuring actual photo's this piece's propelled by a certain song and the crossroads of choices made
AT THE END OF THE STREET is playful imagery stacked on personal photographs with hand embellishments
HEAVEN is a self explanatory idea of what the artist convinces of what's waiting for him. It has many insights to unlock and clues to his hopes and
HEAVEN is a deeply personal collage joining hand embellishments and drawing with photograph and collage
QUEER STREETS is a hodgepodge of the artist youth, mixing style and media, including themselves in the piece.
QUEER STREETS is a youthful mixed media piece, original photograph, hand scribing and digital collage.Many times and many phases. 11 x 8.5in
Demnsional
HATCH is a layered watercolor on cardstock, sealed with a woven cage door over a fragile oasis. It dares you to open it—not for beauty, but for survival. This piece is about escape: the kind you dream of when the walls are too close and your past still claws at your back. Behind the door isn’t peace—it’s possibility. You don’t open HATCH because it’s safe. You open it because you have to.
HATCH is a multi-layer watercolor on cardstock, featuring a hand-woven door embedded into the composition. When opened, it reveals a hidden landscape—inviting the viewer to move from surface to depth. (6.5x6in)
POLAROID is a snapshot of memory—but not one you can trust at first glance. Built from glossy photo stock, hand-drawn elements, collage, and a screen-like veil, the piece centers on a moment tied to a tormentor. It blurs the line real and felt, The image triggers a physical response in the artist, a visual reaction born of embodied memory. The phrase “Trust your body” appears as both a warning and an anchor, grounding the creator in sensation when certainty fails.
POLAROID is on glossy photo stock, featuring hand-drawing and collage elements layered over the image (11x9in)
Watercolor
UNTITLED 2 is a layered watercolor on rough fiber stock—less a painting, more a struggle with the surface. Each wash covers and reveals, like trying on versions of the self that never quite fit. The texture pulls at the pigment the way identity pulls at memory: distorted, resisting clarity.
Untitled 2 is a multi-layered watercolor on textured fiber stock, built through an intuitive, process-driven approach. The surface holds traces of repetition and revision—each layer absorbing and resisting the one before it. The fibers pull at the pigment, leaving behind soft edges and fractured shapes, suggesting a memory
DREAMHOMES is a watercolor built on cardboard and paper—layered, glued. It reflects the artist’s childlike idea of what a home should be: soft, safe, simple. But the truth bleeds through the seams. Like his life, the piece is constructed from whatever was available, stacked and pressed together just enough to make a foundation.
DREAMHOMES is a watercolor painting created on layered materials including cardboard and paper, all glued together to form a single surface. The piece presents an image of a dream home, but the construction itself is intentionally uneven—edges are raw, layers are visible, and the materials are humble. It reflects the tension between the ideal and the real (8.5x11in)
Untitled 4 is a minimalist watercolor on sun-dried papyrus, but there’s nothing peaceful about it. The process demanded patience the artist didn’t have—each stroke a fight against the urge to rush, to control, to finish. The material forced a slowdown, and in that stillness.
UNTITLED 4 is a minimal watercolor painted on papyrus and dried naturally in the sun. The piece embraces imperfection and atmosphere (6x6in)
DECO is a concept for a tile—structured, intentional, inspired by clean design. But unlike its refined origins, the lines here bleed. The colors run, the edges drift. Like life, it refuses to stay contained. It's looser, messier, more honest.
DECO is a watercolor on paper, constructed through a deliberate, step-by-step process in which each color was fully dried before the next was applied. Artist imagined this as a tile. (6x6in)
DRIVE HOME is a watercolor layered on textured paper. 7x7In
There is a certain spot in the desert the artist considers a grounding point in the environment.
Other mediums
GATE is a primitive, almost cave-like drawing made with crayon, charcoal, and colored pencil on plain paper. The marks are rough, urgent—more instinct than composition. It feels less like a picture and more like a signal, a scratch at the boundary between past and self. GATE doesn’t open gently; it drags you through.
GATE is a primitive, almost cave-like drawing made with crayon, charcoal, and colored pencil on plain paper. (5x6.5in)
LET’S PLAY is identity and parody, with watercolor, oil paint, hand-drawing, and collage on rough paper. (6x6in)
PASSBY is rendered in thick, saturated crayon on high-gloss paper, allowing the pigment to smear and slip across the surface. The result is both vivid and fleeting—colors drag like motion trails, capturing the essence of something seen quickly, felt deeply, and already gone. (6x6.5in)
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SAFE PLACE is built under the pressure of being watched and judged, the piece reaches toward something softer: a dream of light in the middle of the noise. It’s not polished, but it’s honest. In the mess and scrutiny,the, the artist dares to imagine there’s still somewhere good to land.
SAFE PLACE is a layered work using collage, oil, watercolor, and hand-drawing. Built from overlapping materials and marks. (8.5x11in)
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PRESSURE is painted with thick, clumsy brushstrokes on glossy paper—like a scream stuck under glass. The marks are uneven, desperate, like someone trying to hold it together. Surrounded by forces, yet proving ones light can protect them.
STOP is a deeply personal piece about being watched in an intimate moment. Created with oil paint and hand-drawing on glossy paper, it captures the child’s voice warning the man: what you're doing will be exposed and judged. It’s a freeze-frame of fear and awareness, where innocence sees too much—and still dares to speak.
STOP is created with oil paint and hand-drawing on glossy paper. (8.5x11in)
PRESSURE is painted on glossy paper with rudimentary, almost frantic brushstrokes that signal youth under strain. (8.5x11in)
