YOUR PAINTINGS FEEL LIKE ENTIRE UNIVERSES PACKED INTO A SINGLE FRAME, ALMOST LIKE VISUAL TREASURE CHESTS. WHEN YOU’RE WORKING ACROSS MULTIPLE CANVASES AT ONCE, HOW DO YOU DECIDE WHAT BELONGS WHERE?

When I work across multiple canvases, it feels like building fragments of a bigger universe. Some motifs clearly belong on one canvas, while others drift until they find their place. The overall rhythm usually decides where things land. I often have a certain feeling or narrative in mind as a starting point, but the process is really about intuition and trial and error. Some parts stay, others get painted over, until the image finally settles. Sometimes I notice the obvious path and deliberately try to find another way around it - that tension between instinct and resistance creates energy in the work.

MYTHOLOGY, POP, AND URBAN CULTURE ALL COLLIDE IN YOUR WORK. DO YOU SEE THESE INFLUENCES AS COMPETING VOICES, OR AS PARTS OF ONE ONGOING CONVERSATION?

It’s about drawing the past into the present. Throughout history, certain stories and behaviors have repeated themselves. Modern culture, in turn, reflects the idea that as humans, we’re primitive beings prone to repetition. The symbols and perspectives we use to understand ourselves are both timeless and evolving, blending iconic views of humanity with new forms of expression.

EXAGGERATION AND DISTORTION RUN THROUGH YOUR STYLE. DO YOU USE THESE TECHNIQUES MORE AS SATIRE, STORYTELLING, OR AS A WAY OF SEEING THE WORLD DIFFERENTLY?

It’s about these very physically prominent, strong characters who embody a kind of classical, iconic strength and a culture of perfection. Yet, they’re enclosed within a frame that feels claustrophobic, forcing them to compromise their more delicate inner worlds and emotions. The changes in their bodies symbolize the struggle between their inner selves and the way the world perceives them.

THERE’S A PHYSICALITY IN YOUR WORK, LAYERS OF PAINT THAT BUILD DEPTH YOU CAN ALMOST FEEL. WHAT ROLE DOES TEXTURE PLAY IN YOUR STORYTELLING?

The textures, layers, and materials that go into my works are a way to define the space and also to determine whether things feel static and massive or in motion. There’s a tactile element to it that I really enjoy, incorporating different textures into my characters. It’s about showing multiple facets, making you feel both repelled and tempted to touch it, almost like wanting to lick it.

YOU’VE STUDIED ACROSS DESIGN, DRAWING, AND VISUAL COMMUNICATION. HOW DO THOSE DISCIPLINES SHOW UP IN YOUR PAINTINGS TODAY?

I’ve been fortunate to develop a set of skills and a kind of toolkit that have become second nature. This gives me a lot of freedom in my creative process, as I don’t always need to overthink every step. It allows the ideas to flow more naturally, making the process smoother and more intuitive.

IRONY IS MENTIONED AS PART OF YOUR VISUAL LANGUAGE. DO YOU USE HUMOUR AS A WAY TO INVITE PEOPLE IN OR TO MAKE THEM QUESTION WHAT THEY’RE LOOKING AT?

I believe that there are all these different emotions and elements that weigh in on the balance of the overall work. I think it really reflects my personality in the way I approach these pieces: there should definitely be a certain seriousness and intensity, but it can also become overwhelming, both in making and in viewing the work. Like many things in life, there are elements that help maintain that balance, inviting the viewer to dive deeper into the work instead of feeling repelled and shutting down their own curiosity. Of course, there’s a fine line: moving too far into seriousness or darkness can be intense, but it can also become too playful. I really enjoy that constant balance, which isn’t always visually obvious, but is more about the emotional experience - both for me as the creator and for the viewer.

MANY ARTISTS WORK TOWARD SINGULAR PIECES, BUT YOUR PROCESS IS ABOUT BUILDING A CONNECTED BODY OF WORK AT ONCE. DO YOU THINK IN TERMS OF SERIES, OR DO THE PIECES “TALK” TO EACH OTHER NATURALLY AS YOU PAINT?

When I stand in front of the canvas and let a specific idea or motif unfold, it can make the process feel a bit more rigid, in the sense that it leaves less room for play. If I can experiment with different scales and media, it always brings out a more intuitive approach. In that way, my works are very interconnected and converse with each other, because there’s always some overlap in the actions that unfold. Of course, that also means that some of the conversation between the works gets lost, since I might start on one piece and end up on the fifth one, leaving the pieces in between unseen. But that’s how it should be.

YOUR CHARACTERS EACH HAVE THEIR OWN UNIQUE BODY LANGUAGE. DO YOU THINK OF THEM AS INDIVIDUALS WITH PERSONALITIES, OR MORE AS ARCHETYPES THAT HOLD BROADER IDEAS?

These specific characters can sometimes be groups that represent a certain attitude or energy. It’s not always the case that a character with a particular role has a head, two arms, and two legs; it can also be a mass or a lump that represents a single idea. Sometimes, it can even be the same individuals recurring throughout the works.

AT 4BYSIX, WE’RE ALWAYS CURIOUS ABOUT WHY ARTISTS JOIN THE PROJECT. WHAT MADE YOU WANT TO GET INVOLVED IN THE 4BYSIX AUCTION?

Through my art, I feel that I can make the biggest difference in the situation I’m in, and I’m really grateful that my works can continue to contribute and make an impact once they’re out in the world. It adds an extra layer and stands in stark contrast to much of the rest of the art world, which can sometimes be quite exclusive. I think it’s important to contribute to other things as well.

HOW DID IT FEEL TO CREATE YOUR WORK ON A SUSTAINABLE, UNCONVENTIONAL CANVAS RATHER THAN A TRADITIONAL ONE? DID IT SHIFT YOUR PROCESS OR THE WAY YOU THOUGHT ABOUT THE FINAL PIECE?

The difference is that I chose not to thoroughly clean the material of any dirt, only enough so that the paint would adhere properly. I initially thought about priming it and treating it in various ways, but I found it more interesting to just leave it as is and add directly onto it. It’s been quite fun; it gives a very different painting sensation with a more synthetic feel, which I think adds something really enjoyable.