Figures, Forms & Symbols
In this later phase of the early work, the structure and restraint of the geometric paintings began to merge with something older and more instinctive: the human figure, gesture, memory, and illustration. After moving through graffiti abstraction and then into surface, grid, and system, I wanted to bring those languages back together. These works feel like an attempt to reconcile control with expression, design with drawing, and abstraction with the body.
Madonna
Acrylic on canvas
This painting reflects the point where figuration, abstraction, and a more deliberate sense of structure began to converge. The figure is broken into planes and fragments, but held together through balance, contrast, and rhythm rather than realism.
The Visitor
Digital artwork
This piece began as a more conventional landscape, but I kept pushing it away from certainty. By introducing the spacecraft and the helmeted deer, the scene became harder to place in time or world, somewhere between the familiar and the altered. I wanted it to feel beautiful, unsettling, and quietly ominous all at once.
Space Invader
Digital artwork
This piece came out of several influences colliding at once: mid-century modern design, cubism, and a lot of misspent time playing pinball and video arcade machines. What emerged was less a literal character than a kind of emblematic presence, built through shape, contrast, and reduction.
Atlas
Scratchboard
I had been sketching figures for a long time, and with this piece that impulse started surfacing more directly in the artwork. Created as a scratchboard, it was influenced in part by a Russian Constructivist exhibition I saw in Minneapolis, which pushed me toward a more graphic, simplified, and monumental treatment of the figure.