studio paintings

Created entirely in the studio, these purely painted works explore physical tension through contrasting applications of the medium across different surfaces.

In some pieces, heavily textured egg forms rest upon seductive, flat yellow grounds on primed canvas. This heavy application of oil purposefully breaks the glossy illusion of corporate branding to expose a messy, visceral reality underneath.

In other works, acrylic is applied to unprimed canvas, allowing the pigment to soak into the raw weave. This process removes the traditional finish of fine art to reveal the underlying support. This material investigation also extends to rigid wooden supports, as seen in YOLKO 22 (2026). The use of a raw wood panel further strips the work of fine art gloss, aligning it materially with the banal objects of consumption it critiques.

Across the series, the visual vocabulary includes graphic disruptions such as diagonal lines derived from single-use plastic straws and vertical motifs suggesting industrial machinery. These marks hover between decorative patterns and structures of confinement. By reducing imagery to these open emblems, the work avoids a singular narrative, instead focusing on the friction between manufactured aesthetics and systemic fragility.