Fine Art
A Moment of Silence (2024)
A man sits to read and rest as a lemon tree is hurled through the frame.
Shamble Structure #4 (2025)
The first true piece of the sculptural style I’ve developed which I’ve named ‘Degenerate Art’ as its based in using the same materials repeatedly till they either fall apart or become part of something bigger. Ignore Adolf Hitler’s use of the same term.
I Need Better Hobbies (2023)
Reflection of the kind of moment that makes someone regret giving their life to art.
Nocturne (2025)
This work is less metaphor and more a vibe build apeing the lighting of old still life paintings from the masters.
Freudenschade (2024)
Two men high five in the air as an annoyed third party changes a television presumed out of the in-image frame.
Dedication Vs Recreation (2025)
Work about cynicism towards art. The moment before a comedically out of place golfer launches a ball into a painting. The Painter being the natural agent is without question. Meanwhile the intention of the golfer as a phantom of rudeness or an adherent to these new abstract landscapes is the driving mechanism of the picture. In both cases the agent is reacting to the painting so what’s the difference?
Kerfuffle (2024)
A security guard is pictured beating down and restraining a tennis player. The concept of an act of violence captured with no explanation for the actions shown is used as a metaphor for the event of violent dislocations which would incapacitate me with pain, often happening for no reason at all.
Spazz (2024)
A sister work to Freudenschade reflecting on feeling annoyance bordering on hate towards the enthusiasm of others. That I needed to excise feelings on this twice is gonna perpetually vex me.
The Painting (2020)
Reflection of the kind of moment that makes someone give their life to art.
In Hard Times “Make” Friends (2025)
A metaphor for using art in place of socializing.
THE MODEL 2.0 (2025)
Object as agent, it is a constant theme in my work.
I Don’t Know How You Do It (2025)
A fallen man is helped up by a statue. Since being back in the states, after a decade between Berlin and Tbilisi, I’ve seen people holding themselves to an impossible standard as things beyond their control take them down in one way or another. This visual metaphor is a gestural stab at capturing this perception.
