YOU’RE SELF-TAUGHT AND STARTED YOUR PRACTICE AFTER SEEING A POP ART EXHIBITION. WHAT WAS IT ABOUT THAT MOMENT THAT PUSHED YOU TO BEGIN CREATING ART?

I was already attending an art high school at the time, and my school took us to a Pop Art exhibition in my hometown. As part of the show, they screened documentaries in the evenings, and it was there that I saw the Basquiat documentary and Exit Through the Gift Shop by Banksy for the first time. Those films lit a fire in me. I left thinking, This is it. I want to do this too.

YOUR FIGURES OFTEN SHARE THE SAME FIXED, UNREADABLE SMILE. WHAT DOES THAT UNIFORMITY REPRESENT TO YOU?

That smile comes from real experiences. Moments where people smiled at me, pretending everything was fine, only for me to later discover they were hiding pain or sadness. That disconnect stuck with me, the smile as a kind of mask. You can’t always tell what’s behind it. Is it honest? Is it hiding something?

At the same time, my roots are in graffiti, where repetition writing your name again and again was the essence. That instinct to repeat naturally carried over into the repeated faces in my work. It’s the same expression, again and again, echoing both disguise and identity.

THERE’S A STRIKING CONTRAST BETWEEN THE SIMPLIFIED FACES AND THE DETAILED BODIES AND ACCESSORIES IN YOUR WORK. WHAT IS THE INTENTION BEHIND THAT DISCONNECT?

I’m always drawn to contrast, whether it’s in subject matter or materials. I love mixing media: making one part of the work completely flat, while others are textured and full of relief. That carries through to the figures. I’ve never aimed for perfection or full realism. Instead, I focus on making certain parts, like accessories or fashion, more detailed, while keeping the faces minimal and simplified. That imbalance creates tension, and I find beauty in that.

HOW DO YOU SEE YOUR WORK SPEAKING TO OR CRITIQUING MODERN DIGITAL CULTURE AND SOCIAL MEDIA AESTHETICS?

Much of my figurative work is taken from commercial campaign imagery, especially from the fashion world. I’ve always been fascinated by the scale of those productions. The time, money, and people involved all to convince us to buy more.

My work critiques that consumerist cycle. Not just fashion, but the way society constantly pushes us to earn more, spend more, and collect material things often at the expense of what truly matters. I’ve experienced that trap personally, getting lost in it, feeling emptier the more I chased it. It’s a loop: buying more to feel better, only to feel worse. Through my art, I reflect on that disconnect and the loss of real connection and values.

YOU FREQUENTLY USE OIL STICKS AND ACRYLICS TO CREATE SLEEK SURFACES. HOW IMPORTANT IS THE MATERIALITY AND FINISH OF YOUR WORK TO THE MESSAGE YOU’RE CONVEYING?

To be honest, the message and the materials aren’t always directly connected. I just love exploring new materials. Tt’s a core part of creativity for me. There’s something really freeing about experimenting and seeing what happens.

In sculpture especially, I enjoy combining materials using found or broken objects, like old toys, and giving them new life. That playful, exploratory approach keeps things fresh and exciting.

WHAT WAS YOUR REACTION WHEN 4BYSIX INVITED YOU TO PARTICIPATE IN THIS PROJECT?

I was honestly really happy. I always love being part of initiatives that have a strong purpose behind them. If there’s a good cause involved, I’m in. This project felt meaningful from the start.

HOW DO YOU SEE YOUR ART - WHICH DEALS WITH IMAGE, IDENTITY, AND DISCONNECT FITTING INTO A CONTEXT OF COMMUNITY SUPPORT AND SOCIAL PURPOSE?

I think it fits quite naturally. Disconnection is something we all go through; mentally, emotionally, physically. It’s easy to get lost in dark places or on the wrong path.

For me, creating art is about finding my way back, finding peace, balance, and clarity. That’s a big part of what my recent work explores, especially as I’ve shifted into themes involving nature, animals, and the human connection to the natural world. There’s healing in that, and I hope others feel that through my work too.

CAN YOU TELL US ABOUT THE WORK YOU CREATED FOR 4BSIX? WHAT IDEAS OR FEELINGS WERE YOU EXPLORING IN THIS PIECE?

The pieces I made reflect a big personal transition leaving the chaos of the city and reconnecting with nature. I spent four years in a big city and felt totally cut off from the natural world. I was glued to my phone, caught up in things that didn’t really matter.

After moving out and surrounding myself with nature again, everything shifted. I felt mentally and physically healthier. Those works show that transformation, my journey back to a deeper, simpler connection. And they’re also a reminder to others not to lose sight of that connection in their own lives.

WHAT DO YOU HOPE VIEWERS WILL THINK OR FEEL WHEN THEY ENCOUNTER YOUR WORK THROUGH THIS COLLABORATION?

I hope they feel the beauty and simplicity of nature and how just being present, observing the small things around us, can make us feel so much more alive.

LOOKING AHEAD, WHAT ASPECTS OF CONTEMPORARY CULTURE ARE YOU EXCITED TO CONTINUE UNPACKING OR CHALLENGING IN YOUR FUTURE WORK?

Absolutely. I’m really excited to keep diving into the unknown. Landscapes, forests, animals, and human interaction with nature are all themes I’m currently exploring. I can’t wait to see where it leads me next.