Inspired by the painting by Edvard Munch, this series examines our codependent relationship with technology. While subjects stare longingly into their mobile devices, the boundaries between human and media dissolve. Attention and narcissism make a toxic mixture.
This series of pictograms references the International Design of the 1960s and 1970s, infographic user manuals and the symbols documented by Henry Dreyfuss. These diagrams codify the love and disdain we feel for mobile devices as they addict us, distract us and consume us.
These pieces use the subtlety of visual pun to illustrate some unsavory aspects of American politics. Gun violence, the death of grace and decorum, and global thermo-nuclear war are all the subject of critique.
Everyone loves the holidays, but does anyone ask themselves “why?”. This series points out capitalism’s role in our favorite seasonal celebrations. In each piece, colorful forms candy-coat a bitter but eye-opening cynicism.
This art series diagrams some of the contradictions and absurdities within our culture. These simplistic color and typographic studies deconstruct and then reassemble new perspectives on social media, government, religion, the food industry, and other pillars of society.
Each piece in this series uses the iconic silhouette of the Coke bottle to shine a light on the Coca Cola corporation. Combining red, white and blue with simple manipulations, these studies use conventions from media campaigns to tell a more cynical story about the soft drink giant and its role in making the entire world unwell.
Pun with Type
Like the cordyceps fungi, these typographic studies give birth to new meaning by hijacking the body of words. Each composition works within barebones constraints: letterforms, color and repetition. The goal is to create visual puns that reveal the deep and pernicious themes hidden within the words. Xenophobia and imperialism are a few of the concepts I explore.