Warning: Scrolling down this page is probably not safe for people prone to epileptic seizures or sensitive to strobing lights. GIFs and video loops automatically play and some are rather intense.
I’m still adding stuff to this site and digging up old work, notebooks with context, and exhibition documentation so consider this a work in progress and check back for updates <3
Nova Dystopia (late 2025-present)
The year is 2026, and political developments in the United States have reached a terrifying fever pitch. The democratically-elected government is enacting mass-deportation campaigns at whim. There are concentration camps on American soil. Protesters have been arrested and murdered. Cameras spy on us from above and report our locations to the authorities. When the cameras can’t see us, our cellphones take their place. Many fear war is on the horizon, though the potential enemy changes nearly every week. A malaise sits heavy in the air. The new dystopia is here. The zeitgeist has changed. Technology is no longer a force for optimism. It’s how the government tracks our neighbors. Major social media firms have all bent the knee. Despite the dark looming cloud of fascism, a spirit of resilience shines through the cracks of every day life, in the offline interactions and real communities coming together.
After my first solo exhibition in late 2025 in Peekskill, NY, at the age of 26, I’m approaching this new world as a mature artist with fully-formed aesthetics, refined techniques, and a much firmer grasp on my own values than I had as a naive 22-year-old rising star with no real-life community. Inspired by my work with Ekko Astral and my time spent in the city, I’ve been going to underground concerts and local raves up here, and I’ve started to find and help foster a community of freaks here in the Hudson Valley.
Mid-Century Neo-Orphism (2024-early 25)
In the Summer of 2024, after a long recovery from my bottom surgery in Oct ‘23, I spent 8 weeks working a day job on West 38th in (what remains of) the Garment District of New York. During this time, I picked up An Art of Our Own: The Spiritual in Twentieth Century Art from the local library and made a point of getting the full experience by acquainting myself in person with as many of the pieces as I could find in New York. It was through this process that my love of the abstract reawakened. I would spend the rest of the year and beyond exploring abstraction and revisiting processes from a few years earlier with a clearer vision and a little more experience. My agoraphobia melted away during this time. Being already in the city with a prepaid monthly train pass, I would spend a lot of time that summer going to art museums in Manhattan and punk shows in Brooklyn.
lil process video for the abstract composition in amber phosphor series
Mograph Era & Arcade Carpets (2020-2023)
My most well-known era of work. The 2020 COVID-19 pandemic struck just as I turned 21, when adult social life would normally begin in America, and took both of my maternal grandparents, who raised me, with it. Instead, everything stopped, and I threw myself into art to cope. On the one hand, this had a tremendous effect on my ability to produce an early body of work and get my name out there, and the art from these years has taken me places beyond my wildest dreams. My giddy joy in rediscovering life when grief started to lift is captured in gritty 480p. On the other hand, the lack of balance in my life caused me to burn out hard by the end of 2021, and I became agoraphobic. My output slowed down considerably for 2022 and ‘23. In October 2023, I had my long-awaited bottom surgery. Around this time, the first video in a long chain of collaborations with DC legends Ekko Astral, “Devorah”, essentially brought me out of burn-out-induced pseudo-retirement and gave me new hope for art’s ability to change the world after I had grown jaded.
“digital graffiti”, 2022
if the internet is the public square, it is the artist’s responsibility to beautify it in whatever way he sees fit, just as he sprayed tags and painted murals in the public square of the physical world.
Self Portraits:
my most popular GIF. this badly-recorded, non-perfect loop I made from a Mixamo dance as a tech demo always pops off the hardest on social media for no reason and that fact always makes me laugh so hard
Collabs:
collab with femiki
collab with nakimushi
collab with laney aka cryptopom1
Exhibitions:
June 2022 - showing Identity Creation Matrix at SuperRare gallery at a group exhibition called SuperTrans in Soho. later in Times Square at NASDAQ. curated by Laurel Charleston. There was a bit of controversy as they never told us we would be labeled “#NASDAQ artists” and like… girllll we are artists from new york, amsterdam, and sao paulo under the age of 40. that show was like 90% socialists lmao
April 2023 - showing and auctioning self-portrait “psychic///warfare.GIF” for Glitch: Beyond Binary at Sotheby’s in Manhattan, curated by glitch art legend Dawnia Darkstone
July-Oct 2023 - showing selected works and an interview between fellow GIF artist Pastiche Lumumba and myself at the Museum of the Moving Image in Astoria. Pastiche and I participated in the curation process for each other’s work in an exhibition titled Refreshing the Loop, curated by Regina Harsanyi and sponsored by Giphy. The exhibition received press coverage from Gizmodo.
August 2024 - selected works featured at RGBMTL, a digital art exhibition in Montreal
Sep-Dec 2025 - “Venus in Vectors”
First-ever solo exhibition, curated by Megan Meadowlark. Held in Peekskill, New York at SUNY Westchester’s Center for the Digital Arts & in collaboration with the KinoSaito Art Center in Verplanck, New York. This exhibition was very close to home, both literally and figuratively, as I grew up in Cold Spring about 15 minutes up the road.
The show received press coverage from The Highlands Current, The Peekskill Herald, and Westchester Magazine.
There were 7 1-of-1 prints on high-quality archival foil paper available for sale. I offered them in-person only with no digital advertising, in contrast to my earlier exclusively-digital works, and 5 sold for $333 each to collectors, 4 of which were at the opening reception. The two remaining prints were taken off the market and given to my family (I call it “artist’s life insurance”). I’ve retained the handful of test prints as artist proofs for my own collection.
