YOUR CHARACTERS – CUTE, YET EMOTIONALLY WOUNDED – HAVE BECOME ICONIC. HOW DID THIS VISUAL LANGUAGE DEVELOP, AND WHAT CONTINUES TO DRAW YOU TO THESE CONTRASTS?

When I started painting, I was inspired by artists like Gary Baseman, Camille Rose Garcia, Mark Ryden, Takashi Murakami, and Yoshitomo Nara. Their illustrative styles and clever narratives drew me into their work and helped me connect with this form of contemporary art. The idea of using a cute or empathetic character and placing it in a dark or nihilistic narrative just made sense to me. It feels like an effective way to present uncomfortable topics. As the world continues to evolve into what it is now, this style of narrative work feels even more relevant.

THERE’S A STRIKING BALANCE IN YOUR WORK BETWEEN HUMOR, TRAGEDY, AND SELF-REFLECTION. HOW DO YOU NAVIGATE THAT LINE AS AN ARTIST?

I simply create whatever inspires me in the moment. I think my work has definitely become less brutal than it used to be, but that’s also because I’ve moved away from the self-destructive behaviors that plagued me when I first started painting full-time.

MUCH OF YOUR ART SEEMS TO SPRING FROM PERSONAL EXPERIENCE. HOW DO YOU APPROACH VULNERABILITY IN YOUR WORK, AND HOW DOES IT RESONATE WITH YOUR AUDIENCE?

I definitely draw from personal experience, and I find myself shying away from subjects that feel disingenuous to me—such as politics. I especially enjoy using visual metaphors to tell stories that are more open-ended.

I think people who connect with my work are drawn to its sincerity.

YOU’VE WORKED IN MULTIPLE MEDIUMS, INCLUDING 3D TOYS AND ILLUSTRATION. HOW DOES YOUR CREATIVE PROCESS SHIFT BETWEEN THOSE FORMS, AND DO THEY INFLUENCE EACH OTHER?

They definitely influence each other. I often create paintings that I also try to visualize as three-dimensional objects. The style I adopted was heavily influenced by the art and designer toys that were in vogue at the time.

WHAT ROLE DOES REPETITION OF CHARACTERS OR THEMES PLAY IN YOUR WORK – IS IT A FORM OF RITUAL, COMFORT, OR SOMETHING ELSE ENTIRELY?

I’d say the repetitive aspect of my work comes from ritual, comfort, and commentary. I remember back in school, my art history teacher was lecturing about Andy Warhol and how the repetitive elements in his work served as a commentary on technology and consumerism. Now, in the 2020s, technology and consumer culture feel like they’re in overdrive, and I think my work echoes the same kind of commentary Warhol was making in the 20th century.

WHEN 4BYSIX INVITED YOU TO PARTICIPATE IN THIS PROJECT, WHAT ABOUT THE MISSION OR CONCEPT RESONATED WITH YOU?

I’m looking for opportunities to show my work in as many different places as possible. Based on the list of artists you’ve previously worked with, and the fact that you’re based in the UK, I saw this as a great opportunity to create something that reaches beyond the scene I’m most often associated with.

HOW DO YOU SEE YOUR WORK – WHICH OFTEN ENGAGES WITH DEEP PERSONAL STRUGGLE – CONTRIBUTING TO A LARGER EFFORT TO SUPPORT COMMUNITIES THROUGH ART?

I’ve always considered my art to be for the disenfranchised. As someone who has experienced my share of alienation and struggle, I want to create something that helps people realize they’re not alone in these feelings. Though I usually have something relatively specific in mind when I create a painting, I hope the finished piece speaks broadly enough to resonate with a wide audience.

CAN YOU SHARE SOME INSIGHT INTO THE PIECE YOU CREATED FOR THE 4BYSIX AUCTION? WHAT EMOTIONS OR IDEAS WERE YOU EXPLORING?

The painting I created for 4BYSIX is definitely one of my quieter pieces. I think it reflects where I was at the time. I made it in the late winter of 2025, and—like the painting—I spent that period wearing a black pullover hoodie, recovering from the holiday season, and trying to figure out what I wanted to do with the new year.

YOU’VE BUILT A CAREER ON TURNING INNER CONFLICT INTO RELATABLE VISUALS. WHAT DO YOU HOPE VIEWERS TAKE AWAY FROM YOUR WORK IN THIS CONTEXT OF SOCIAL PURPOSE?

I hope that people who see my work can relate to it—that it helps them recall an experience that resonates with what I’m illustrating and allows them to find a personal connection to the piece.

LOOKING AHEAD, WHAT ARE YOU HOPING TO EXPLORE NEXT – EITHER THEMATICALLY OR IN TERMS OF NEW MEDIA?

I think animation would be a fun medium to explore.

The themes I work with are gradually evolving as I gain more age and experience, and I’m excited to see how that inspiration shapes my future work.