I aim to communicate the sentiments, gestures, and sensations that are not illustrated enough.
Art is my mechanism, tool, and practice for understanding the world around and within me.
A bit part of what I have battled in this life, is Papancha, a Buddhist term for mental chatter or incessant proliferation. I use the kinetic nature of sketching to release some of this chatter, or “static.”
By the creation of overlapping patterns and lines, through the quick scratchiness of the movement, I’m able to channel my sense of hyperawareness, incessant proliferation.
I have to get things out, or they sort of fester and buzz around in my head and body. Creating things, is literally my avenue to peace.
I’ve been asked whether I see this fact as a blessing or a curse. I usually say that I see it the same as the reliance on food and water for survival. It’s a little inconvenient that you must eat regularly to function, however, it is an accepted fact of our existence. At the end of the day, you gotta eat.
I love when I am given a prompt, or the opportunity to dive into an idea or message for the purposes of a campaign. It is for this reason that I’ve gravitated to supporting creative projects by creating film posters, album covers, magazine advertisements, etc.
Featured Commercial Work
“El Secreto” Film Poster - 2024
For the 2024 film El Secreto, I had the pleasure of collaborating with director Daniel Rocha, an old friend with whom I’ve long discussed the idea of working together. When the opportunity finally came, it felt full-circle. The creative director on the project, Daniel’s sister Valheria Rocha, reached out to me to design the film's poster in my signature textured, colorful style. It was a fantastic experience working with Valheria, who pushed me creatively and helped elevate the design. I’m currently working on an alternate poster for El Secreto, which is set for release in early 2025.
Layers, Symbolism, and Detail
I want my art pieces to function as a film script. Where everything that happens in a film is intentional and for some purpose – almost everything that occurs was contemplated and thought-out as words as a page long before a scene is born. Aside from the occasional improvisation, every line acts as a detail. The orientation of orbs, the amount of attitude embedded in a pattern. The shapes we choose to make dominant, while others we suppress.
The frequent use of orbs is to represent energy in its purest form. It is meant to indicate connectedness, infinite nature (or the concept of infinity),
Many of the beings I depict are genderless. This was pointed out to me by my Dad. I often create duality in the essence of a subject’s features without conscious thought. Though the motif is unintentional, some part of me appreciates that anyone can see themselves in the subject. Perhaps it is the balanced, neutral nature of spirit before it is incarnated into a human form. Or maybe I just like androgyny. Who knows?
