I use art to navigate epistemological conflicts and intersections that arise from existing within and interacting with constantly shifting modern, material and immaterial spaces. In less academic language, this just means I’m interested in exploring the vastly different ways that people experience the world.

My metacognitive, maximalist, humanist creative lens is heavily inspired by my omnivorous consumption of genres and film forms, as well as philosophical and political movements. John Waters’ transgressive Camp films and German Expressionism, Dream Pop and the Iranian New Wave, Industrial Hip Hop and Post-Colonial Theory all go hand-in-hand into transforming my creative drive and output. This results in work that feels visceral, layered, self-aware and absurd. I feel that much of my urge to weave (or smash) together these disparate realities is motivated by my own liminal experiences of social and economic identity– The art is personal as much as it is a way to understand other people. 

While creating art that exercises intellectual capacities is important, over time I’ve realized that my work is best when it’s created towards a new way of seeing and feeling, and I’ve found that many of my favorite projects by other artists also tend to have a similar teleology. Ultimately, I hope for my art to become food for the spirit.

“The allotted function of art is not, as is often assumed, to put across ideas, to propagate thoughts, to serve as example. The aim of art is to prepare a person for death, to plough and harrow his soul, rendering it capable of turning to good.” — Andrei Tarkovsky