POLAROIDS

Collage has always been my truest language. It began as a space where I could create portraits without the demands of human interaction, a private arena in which I could engage with what society is constantly saying, selling, and insisting upon, without being forced into the pace of conversation. In collage, I can slow things down, dissect messages layer by layer, like breaking down a dialogue into its literal definitions and rebuilding it as an image.

My work is rooted in a distrust of the narratives that surround us: capitalism’s endless promises, culture’s contradictions, the hypocrisy of what we’re told versus what we see. Collage allows me to hold these falsehoods in my hands, to cut into them, to expose their seams. My collages may not be truth, but they are honest.

Collage is a practice born of rupture, of tearing apart what is given and daring to reassemble it into something else. When I work with collage, I am both surgeon and saboteur. I slice into glossy surfaces meant to seduce, I scar images designed to sell, I rearrange faces until they resist easy consumption. Each cut frees the image from its original intention, giving it new life, new context, new vulnerability.

Where painting or photography can suggest wholeness, collage insists on fragmentation. It mirrors the way my mind works, fractured, nonlinear, caught between contradictions. It reveals how we are all the same: stitched together from memory, influence, and accident. Collage feels deeply honest because it acknowledges that identity itself is assembled. None of us are singular; we are fragments of family, faith, desire, fear, trauma, joy. To deny that is to pretend wholeness exists. My collages embrace the opposite. They revel in the incomplete, the jagged, the dissonant.

There is also something deeply theatrical about collage. It is performance on the page, images playing roles they were never meant to play, bodies rearranged into impossible gestures, faces re-scripted into unfamiliar expressions. The absurdity is part of the truth: we are always performing versions of ourselves. Collage simply makes that performance visible.

Limited edition prints available upon request.

PORTRAITS

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UPDATED PORTRAITS

Full Statement

This series reconstructs historical paintings by replacing their central figures with collaged contemporary faces, assembled from fragments of advertising and fashion imagery, then re-photographed onto Polaroid film. Familiar compositions become inhabited by unstable, constructed identities.

 The work questions the authority of images, particularly those that have shaped ideas of beauty, morality, and belief. By disrupting these inherited visuals, the series exposes how both historical and modern ideals are assembled rather than absolute.

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FACES

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SEX SCENES

This series examines the tension between human sexuality and the systems that shape how it is perceived. By collaging animal heads onto figures sourced from adult imagery and placing them within serene landscapes, the work disrupts familiar narratives around desire, shame, and acceptability.

The series highlights a contradiction: sexuality is fundamental to life, yet often burdened by judgment and control, while the same acts in the natural world are viewed without consequence. By removing human identity and reframing the scene, the images invite viewers to confront their own learned responses, and to question where those judgments originate.

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INTERIOR
FLOWERS

Full statement

This series uses the cut flower as a metaphor for belonging, something placed, admired, yet already in the process of fading. Set within constructed interior spaces built from color and shape, these Polaroids explore the tension between being seen and feeling rooted.

 Balancing beauty and decay, the work reflects a search for home, not as a place, but as a fleeting moment of presence before disappearance.

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ANIMALS

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