I found this canvas on a New York sidewalk, sitting outside a permanently closed restaurant. It was a discarded landscape originally from Holland. Instead of painting over its history, I decided to keep the old scene as the foundation for my own work. The original painting became the backdrop for a new story, a physical piece of one place relocated and reworked into another. 

Superimposed onto this found European backdrop is a depiction of a modern Zuni woman. Wrapped in a traditional woven kilt, her hair sharply slicked to the side, she possesses a striking, graphic presence that bridges historic iconography with contemporary reality. She is not fixed in the past, nor is she confined by geography; she is a global traveler, navigating the world on her own terms. Today, her journey has brought her to Holland.

With Rainbow Man, I wanted to bring a sacred Zuni guardian into a contemporary space. Historically, the Rainbow Man is a symbol of protection, rain, and the bridge between realms. This piece is really a tribute to the soft-spoken elders I grew up around. They were kind-hearted, gentle souls who carried an immense, inherited strength without ever needing to be loud. I placed his bright, multi-colored mask against flat, saturated color fields. By stripping away the extra noise, the painting bridges ancient tradition with modern graphic art. It is a simple reminder that our best shield against a chaotic world is often just a quiet, grounded presence.

In this striking portrait, a highly stylized, geometric figure emerges from a dense, glittering cosmos, balancing hard-edge graphic precision with a deep, textured sensuality. The subject’s face is rendered through a complex patchwork of interlocking color fields—marked by sharp juxtapositions of vibrant turquoise, chartreuse, and soft pinks—that fracture and reconstruct the portrait into a vivid psychological landscape.

The figure is enveloped in a structured, patterned coat that evokes the classicism of iconic Chanel tweed, grounding the piece in a modern vocabulary of luxury and material status. This symbol of high fashion is set against an immersive background composed of a heavy, tactile layer of black glitter. As light catches the surface, the background transforms into a dynamic, shimmering night sky, glittering like a vast celestial expanse. By juxtaposing the structured, curated world of material elegance with an infinite, sparkling void, the painting creates a compelling tension between the transient nature of human presentation and the enduring mystery of the spiritual universe.

Plush Safe She think is a sharp, satirical portrait of insulated luxury and psychological armor.

The title and conceptual DNA of the piece are lifted directly from the streets of the late-1970s Manhattan underground—specifically Jean-Michel Basquiat and Al Diaz’s SAMO© graffiti campaign, which famously scrawled “PLUSH SAFE HE THINK” as a biting mockery of bourgeois complacency.

In this painting, that historic street-level irony is transposed onto a pristine, ultra-posh figure from New York’s Upper East Side. She is rendered as an architectural construct of privilege. Her defense mechanism is pure financial security; she is cocooned in an impenetrable layer of custom luxury and high-end design that functions as modern-day plate armor.

In John Singer Sargent and We'wha, I explore an imagined intersection between two historical figures: John Singer Sargent and We’wha (c. 1849–1896). By conceptualizing a portrait session in Washington, D.C., the work invites the viewer to consider the encounter between the renowned painter and the Zuni lhamana who served as a cultural ambassador and educator to European-American society.

In this staged scene, the finished portrait of We’wha rests against an easel, while Sargent turns his attention toward a smaller canvas. This composition serves as a meditation on the power dynamics of portraiture, the act of cultural exchange, and the legacy of a figure who walked between social and ceremonial worlds.