Omnious, 2020, photo series & .pdf

Omnious chance encounters with organized spirituality and religion in NYC.

The long pdf is a like linear video timeline, controlling the viewers pauses with periods of scrolling through blank white space, replicating the act of scrolling through social media.


Air Pressure, 2020, photo series

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This is a collection of images I took in the summer of 2019 on a road trip through the United States. My role as a tourist on this trip was a boiled down version of how I had felt my whole time studying in the U.S.


A perpetual outsider, inherently different. I embraced the sentiment and took pictures of scenes that to me captured the feelings of loneliness and isolation I had felt. These pictures balance a line between gloom and vulnerability, a vulnerability that at times is tender, with small signs of something human in seemingly desolate or isolated spaces. 

Published in Artfare's Mirror/Image Exhibition. 


Syrazy, 2019, photo series

Photos taken in late summer Syracuse, the Rust Belt, 2019. A small American town with a lot of beige carpet and a challenged economy.

Click to enlarge.


Lana Rhoades, 2018, digital collage

Lana Rhoades is a porn performer born 1996. After receiving unsolicited comments on our resemblance, I looked up her work. This collage is of comments on her videos that speculate on whether she is acting or not, whether the porn is fake or real.


I had been thinking of femininity a performance, Lana Rhoades and other women's acting in porn as the ultimate feminine performance, of woman as object, of woman as her body, as reproductive organs. The images of her tattoo are from different films, and prove her identity is static regardless of acting in different roles.

Blue, 2018

Movement and light in NYC. Bright and blue day

hyper-femininity, 2019

The idea of performative femininity and the modern cyborg merge. The cyborg of tomorrow exaggerates the female form through body modification to gain social power, but at the great cost of her life force. 


A cyborg in my likeness, walks in circles in a monotonous, contained space. There’s no escaping this invisible enclosure. The background audio is appropriated from YouTuber Trisha Paytas, who has made a living exaggerating femininity online. She speaks of wanting to be seen and makes existential statements through the trope of the blonde bimbo. Advertising images directed at women circle the cyborg. They embody the essence of femininity as a concept; sex, beauty, endless self-criticism, artificiality. The cyborg walks endlessly in this maze until she breaks the 4th wall.

Birds, 2018

The birds are borderless, the birds are fleeting, the birds are free, the birds are alone, in a group, exposed to the weather, transient in nature, the birds remind me of me, of immigrants, emigrants, migrants, of moving from a place to another with the intention to inevitably leave it and stay in flux. 

Like4Like, 2018

A short film about the practice of commenting on Youtube videos, something that can be both absurdly humorous and tenderly touching.

In Like4Like, online comments left on Youtube videos are read out loud IRL in lonely spaces. How absurd is our online existence when made visible in the "real" world? Leaving a comment is like screaming something into a ravine. You throw something out without expecting a reply, if something answers back it's usually a reflection of yourself.