As a self-taught artist shaped by the restless energy of 80s and 90s counterculture, I try to work with realism the way some people work with intuition: patiently, attentively, as if coaxing the hidden story out of a subject, a gesture, or environment. Forever in search of what I call the push-pull, through textured surfaces, soft distortions and rich depth, I work to invite viewers into a slower rhythm – one that stands apart from the hyper-speed and fragmentation of contemporary life. 

Though not overtly symbolic, each painting hints at something beneath the surface: a vibration in the light, a shift in atmosphere, a feeling that the visible world is only part of the story — suggesting that meaning is not delivered, but discovered. 

In a time when images flash by and attention thins, I want my work to act as a subtle form of resistance. By rendering the material world with depth, care, and patience, I hope my artwork offers viewers a chance to pause, to look closely, to notice, to reconnect. My paintings do not seek spectacle. They simply hold space for what is human, speaking softly, but insistently, reminding us that slowness has a pulse and that the mundane world — when closely observed — edges into the miraculous. 

I believe public art brings people together and lays waste to imaginary boundaries. It helps create community amongst those who may not otherwise have connected. I also believe that public art – at its core – stands as a mirror for society, often reflecting back trends, beliefs, and sometimes challenging us to examine those beyond the surface level talking points we so often rest our hats on. My sincere hope as people walk past my mural is twofold: 1) I hope they feel a bit anxious but also intrigued to think deeper. To stare into the blurry lines between the onslaught of the digital age and how it is affecting humanity, both positively and negatively. And 2) I hope viewers put their phones in their pockets and simply digest the artwork. Consume it onsite. Take the extra few minutes to ponder the meaning of the artwork, not simply snap a picture and move on. 

I typically start with a blank slate. The first thing I visualize is not the composition. Instead, I try to imagine the feeling I want to create with the artwork. I usually call this the “core idea.” Once I hone in on the emotion, I then start designing visually. Sometimes it’s a quick sketch and I just want to go attack the wall – working out the details, color, and background in real time while I paint. To me, this approach embodies the essence of street art. I believe it is paramount to sharpen intuitive strokes and mark making from time to time. While not always practical or acceptable, I do believe that practicing this approach is essential to building artistic confidence and resilience. It also lends itself to creative problem-solving and efficiency, which is basically what mural making is at the end of the day. However, when working with clients and/or public funds, a more comprehensive plan is usually required, for good reason. In these scenarios, especially when painting realism, I often design my compositions collage-style, using reference images as a foundation. From there I go into Procreate and begin tweaking, adding and subtracting. Whether it be color, form or movement, I try to create compositions that feel both noticeable, but also lived-in in a way. As for this particular composition. I opted to use greyscale to depict the figure and reality juxtaposed against bright colors to depict humanity’s intersection with the digital age. 

I work almost exclusively with aerosol. I do use latex to cover large areas and for color-blocking, but I prefer using spray paint for the details and fades. The speed and freedom that spray paint affords is unmatched in my opinion. I also used tape and a long overspray straightedge to create the glitching effects. To be honest, I try to steer away from using tape (or deploy it sparingly) as often as possible but sometimes it is necessary to create a desired effect. The reason I try to avoid it when possible is a spiritual one. I have come to learn that looser can often feel more organic and lively. Once I learned to start letting go of perfection, an entirely new world opened up to me. And the process of painting murals became less restrictive and more enjoyable. By letting go, I felt more connected to the process and the artwork. Nowadays, I tend to find the imperfections I see in my work and others to be the most beautiful and interesting parts of the artwork. 

I hope that in 10 years humanity has survived the digital age. Not just in physical form, but spiritually as well. I believe that we as a species are entering a turbulent time during which our definition of what it means to be human is in a constant state of flux. How we choose to navigate this period will carve the path for generations to come. The one thing that I want them to know about me as an artist is that I am still, and forever will be, in search of the push-pull. As for the story the artwork tells, I actually hope the story and lessons in the artwork will have adapted and changed by then. I hope the artwork serves as something that can be looked back on and viewed as a moment in time when the essence of what it means to be human was in question. Did we make it? That story is yet to be written. 

“Send Me an Angel” by Real Life