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Title: The Doll That Replaced Her
Title: Keep Your Hands Off My Meat
Title: The Doll That Replaced Her
Medium: Acrylic gel transfer, archival inkjet print, acrylic paint, graphite, and digital manipulation on canvas
Dimensions: 30"x 30"
Year: 2025
Description:
A techno-relic of distorted devotion, Motherboard Mary confronts the erasure of the sacred feminine in a digitized, post-human age. In this unsettling tableau, the Virgin is replaced by a plastic Barbie who breastfeeds Yoda, not Christ—her power source no longer divine, but MacBook-fed and lithium-charged. Created through acrylic skin transfer and layered painting, the work peels back the myth of motherhood, reprogramming Madonna into a synthetic caretaker for meme-born gods.
Title: Imprinting
Title: Keep Your Hands Off My Meat
Title: The Doll That Replaced Her
Medium: Acrylic gel transfer, archival inkjet print, acrylic paint, graphite, and digital manipulation on canvas
Dimensions: 30"x30"
Year: 2025
Description:
A robot mother duck leads real baby ducks who don’t know she’s artificial. The piece is about imprinting—a psychological phenomenon where babies follow whatever they see first during the critical early days of life.
This work reflects our current culture, where many children are being raised by screens, tablets, YouTube videos, and games like Roblox instead of human connection. The ducklings, like our kids, don’t know the difference. They follow what responds, what glows, what moves.
Eventually, they grow into what raised them.
Eventually, they become the machine.
Title: Keep Your Hands Off My Meat
Title: Keep Your Hands Off My Meat
Title: Keep Your Hands Off My Meat
Medium: Acrylic gel transfer, archival inkjet print, acrylic paint, graphite, and digital manipulation on canvas
Dimensions: 80"x 80"
Year: 2023
Description:
This artwork is a raw, visceral collage layered with powerful visual and textual elements. At its core is a fragmented image of a nude figure, overlaid with anatomical imagery—organs, muscles, flesh—evoking dissection, objectification, and violence. The body is broken down into parts, stripped of identity and wholeness, transformed into meat.
Title: Yoni In Revelation
Title: American Way (Aborted)
Title: Keep Your Hands Off My Meat
Medium: Acrylic gel transfer, archival inkjet print, acrylic paint, graphite, and digital manipulation on canvas
Dimensions: 84"x 84"
Year: 2023
Description:
Yoni in Revelation is a brutal and sacred counter-myth, created in the aftermath of the Supreme Court’s overturning of Roe v. Wade. A crowned, Egyptian-like goddess sits in a throne of blood and serpents, legs parted in defiance, birthing a seven-headed dragon—one head crowning with a fetus, others snarling with apocalyptic fury.
Referencing both Revelation 12 and the stolen symbology of divine motherhood, Orlova reclaims the act of birth as not just life-giving, but world-shaking. The figure bleeds openly, holds herself with power, and dares to birth chaos, not submission.
Title: Toxic Breakup
Title: American Way (Aborted)
Title: American Way (Aborted)
Medium: Acrylic gel transfer, archival inkjet print, acrylic paint, graphite, and digital manipulation on canvas
Dimensions: 84"x 84"
Year: 2023
Description:
This work documents the emotional terrain of a toxic breakup through repetition, degradation, and digital imprint. A sequence of bare-chested self-portraits becomes the canvas for increasingly violent phrases—many drawn from actual messages, voice memos, or hallucinated fears.
“I am not a human, you are fucked.”
“I told you not to fuck with beauty.”
“You’re psycho. I made you.”
Each square is a frame in a psychological loop—obsession, gaslighting, blame. The body is not eroticized but haunted, overexposed, pixelated, and wounded by language.
Title: American Way (Aborted)
Title: American Way (Aborted)
Title: American Way (Aborted)
Medium: Acrylic gel transfer, archival inkjet print, acrylic paint, graphite, and digital manipulation on canvas
Dimensions: 70"x65"
Year: 2023
Description:
A fetus floats in the womb, already clutching a gun. Surrounded by chaotic splashes of red, black, and white, the painting confronts the normalization of violence in American culture. The womb—once a sacred space—becomes a battlefield. Aborted speaks to innocence lost before birth, consumed by a culture that worships power over protection.
Title: Vitruvian Kim
Medium: Acrylic gel transfer, archival inkjet print, acrylic paint, graphite, and digital manipulation on canvas
Dimensions: 84"x 84"
Year: 2023
Description:
Kim Kardashian is recast as a bleeding, gender-shifting icon—part man, part witch—posed like Da Vinci’s Vitruvian Man. Barbies spiral toward her dripping penis, not out of awe, but hunger. Her eyes are hollow, veins of blood running through them—no vision, no soul, only spectacle. This is not motherhood—it’s the machinery of capitalism dressed in skin. She isn’t a woman. She’s a system feeding on desire, fame, and illusion.
Title: The Supreme Isn't Supreme
Medium: Acrylic gel transfer, archival inkjet print, acrylic paint, graphite, and digital manipulation on canvas
Dimensions: 70"x60"
Year: 2025
Description:
It is a cry for help—from women who loved too deeply, too wrongly, and paid the price. At its center, a pregnant figure with a stitched mouth evokes Marilyn Monroe: orphaned, sexualized, and ultimately silenced by the very system that consumed her. Sacred geometry pierces her belly like a weapon masquerading as divine order. Behind her, JFK’s portrait lingers—not as a lover, but as a symbol of betrayal, secrecy, and control.
Title: Birthing A Bomb
Medium: Acrylic, pensil
Dimensions: 108"x 86"
Year: 2023
Description:
In Birthing a Bomb, Vladimir Putin is depicted mid-labor—giving birth to a nuclear weapon. Donald Trump, haloed like a saint, acts as the midwife, complicit in the delivery. Both figures are framed in the style of Russian Orthodox iconography, their golden halos mocking the sacred, turning prophecy into profanity.
This work is a visceral response to the Ukrainian war crisis, created during the height of nuclear threats. The bomb, still wet with metaphorical blood, is not just a weapon—it’s the grotesque child of authoritarian power and global narcissism.
The piece asks:
When men play gods, who bleeds?
Title: The Boy And The Bomb
Medium: Acrylic paint, graphite, chalk, pastels
Dimensions: 106"x 67"
Year: 2023
Description:
A faceless boy with a halo plays in a field, moments from the edge of a cliff. A lit bomb rests at his feet—he’s about to kick it, or fall. Surrounded by angels, one offering a cross, another reaching out, he seems protected, even holy—but he’s already dead. He just doesn’t know it.
The Boy and the Bomb explores the fragile line between innocence and destruction. The faceless child represents a generation raised in violence, worshipped in ideology, and abandoned in reality. The question lingers:
Will he kick the bomb, or fall first?
Either way, the explosion has already begun.
Title: I Took A Shit In Your Car
Medium: Acrylic paint, graphite, chalk, pastels
Dimensions: 71"x 61"
Year: 2023
Description:
This piece is a scream. I was in crisis—naked on a police car, begging for help. I hadn’t committed a crime, but they treated me like one. No doctor. No compassion. Just cuffs and a 5150.
This is wha 71"x61"s like when a woman breaks down and the system punishes her for it.
Title: Bloody Vestibule
Medium: Acrylic gel transfer, archival inkjet print, acrylic paint, graphite, and digital manipulation on canvas
Dimensions: 99"x 87"
Year: 2023
Description:
This is my body. These are my handprints.
Bloody Vestibule is a raw, anatomical portrait of the vagina—exposed, labeled, bleeding. The red handprints across the canvas are my own, stamped in menstrual blood and paint, marking not just biology, but memory. It’s a confrontation with every unwanted touch, every silencing, every time the body was treated as public property.
By turning myself into the subject, the map, and the mark-maker, I reclaim what was always mine. This is not shame. This is sacred revolt.
Title: HotForWords 2.0
Medium: Acrylic gel transfer, archival inkjet print, acrylic paint, graphite, and digital manipulation on canvas
Dimensions: 84"x 62"
Year: 2025
Description:
This work is a reconstruction—and reckoning—with my former viral identity. I present myself as a fragmented saint of digital culture, wearing the halo of capitalism, holding up a Barbie body like an ID card. My face is pixelated, my pubic region replaced with circuitry, my hair detached like a wig.
HotForWords 2.0 critiques how the internet consumes femininity: slicing, branding, and repackaging it until there’s nothing left but surface. It’s both confession and revolt.
This isn’t nostalgia.
It’s a funeral for the girl I had to become to be seen.
Title: Murder, She Wrote
Medium: Acrylic paint, graphite, chalk, pastels
Dimensions: 90"x70"
Year: 2023
Description:
Murder She Wrote reimagines Caravaggio’s Judith Beheading Holofernes as a feminist reckoning. Marina and Marilyn Monroe, crowned with golden halos, behead Harvey Weinstein—not as victims, but as divine avengers. Their nudity is not for seduction, but revelation. Blood spills as both punishment and purification.
This is revenge as ritual—an indictment of Hollywood’s casting couch culture and a final word from the women it tried to silence. A curse. A coronation. A rewritten ending.
Marina and Marilyn Monroe behead Harvey Weinstein in a Caravaggio-inspired act of divine revenge—an unapologetic strike against Hollywood’s legacy of exploitation.
Title: Harvey The Hutt
Medium: Acrylic gel transfer, archival inkjet print, acrylic paint, graphite
Dimensions: 60"x 48"
Year: 2023
Description:
Marina Orlova had a consensual encounter with Harvey Weinstein—one that left no visible wounds, but etched a quiet scar. This painting is her reckoning. Her refusal to stay silent before arrogance masked as power.
Rendered as Jabba the Hutt, Weinstein becomes a grotesque idol of decaying patriarchy—bloated, irrelevant, and cursed through satire.
And yet, beneath the fury, a nun-like whisper offers forgiveness.
Not for him, but for her own release.
A final rebellion—sacred, scarred, and unflinching.
Title: 10K Likes Later
Medium: Acrylic paint, graphite, chalk, pastels, polaroids, mixed media transfers
Dimensions: 87"x 70"
Year: 2023
Description:
Marilyn Monroe is crucified—not by the church, not by the studio heads, but by Steve Jobs himself. In “10K Likes Later,” Marina Orlova resurrects the platinum saint of seduction only to nail her to the digital cross of modern validation. The painting is a savage indictment of fame’s evolution—from studio-manufactured iconography to algorithmic worship.
Polaroids spill like relics across her thighs and under her heels—ghosts of moments commodified and devoured. The Instagram heart reading “10K” is no longer praise—it’s a wound. A public currency paid in private pain.
Title: Hermaphrodite
Title: Christianity, 35 cents
Medium: Acrylic gel transfer, archival inkjet print, acrylic paint, graphite, and digital manipulation on canvas
Dimensions: 77"x 71"
Year: 2023
Description:
This work is a quest for wholeness through love. Layering photographs of herself and her boyfriend, the artist creates a single, unified figure—part male, part female, part myth. The eyes of the Mona Lisa, long speculated to be modeled on a man, watch from the composite face, collapsing centuries of gendered gaze into one timeless stare.
Words like bisexual, androgynous, and similar drift across the body, not as labels but as echoes of the world’s attempt to define what love has already made complete. The green drips and raw seams expose the mess of becoming—not a refusal to be one thing, but a longing to be whole in another.
This is love as alchemy. A body as a bridge.
Title: Christianity, 35 cents
Title: Christianity, 35 cents
Medium: Acrylic gel transfer, archival inkjet print, acrylic paint, graphite, and digital manipulation on canvas
Dimensions: 91"x 81"
Year: 2023
Description:
In “35 Cents,” the artist offers a chilling meditation on how modern culture has crucified both the sacred and the feminine. By layering a LIFE magazine image of Jesus on the cross with a nude Barbie—complete with the Apostles’ Creed and a price tag—she exposes the collapse of spiritual reverence into capitalist objectification. The piece doesn’t just ask what we worship now—it answers: image, consumption, and control.
This isn’t a blasphemy. It’s a eulogy.
35 Cents layers a 1930s LIFE magazine image of Christ on the cross with a fragmented, nude Barbie—crucified in his place. Beneath the surface, the Apostles’ Creed fades like forgotten scripture. This piece confronts a culture that worships image over divinity, placing a bargain-bin price on both women and God.
Title: Holy Molly
Medium: Acrylic gel transfer, archival inkjet print, acrylic paint, graphite, and digital manipulation on canvas
Dimensions: 96"x 86"
Year: 2023
Description:
A three-headed Pope Francis—merged like a distorted trinity—sits in a field of writhing Barbies mid-orgy. Clones of plastic femininity swarm around the papal body, not in worship, but in revolt.
Holy Molly satirizes the Church’s obsession with sexuality, purity, and control, while exposing its voyeuristic undercurrent. The red halo bleeds like a warning: when religion tries to govern desire, it only multiplies it in secret.
This isn’t blasphemy.
It’s exposure.
Title: Stardust
Medium: Acrylic gel transfer, archival inkjet print, acrylic paint, graphite, and digital manipulation on canvas
Dimensions: 120"x96" (diptych)
Year: 2023
Description:
An alien god offers the Earth—glowing, fragile, full of potential. But the man receiving it, modeled after Donald Trump, stares blankly, clutching a bloody steak. His swollen body and vacant expression reflect a culture addicted to consumption, blind to consequence.
The Gift critiques America’s obsession with excess—where the planet is literally handed over, and still ignored. The Earth becomes just another background object in a country that worships appetite over awareness.
He was given the world.
And chose red meat.
Title: Demon
Medium: Acrylic gel transfer, archival inkjet print, acrylic paint, graphite
Dimensions: 90"x 84"
Year: 2023
Description:
In this visceral reimagining of the Hades and Persephone myth, the god of the underworld seduces not only the daughter, but the mother as well. Caught between inheritance and desire, silence and surrender, Demeter and Persephone become reflections of each other—entwined in a dark ritual of power, complicity, and generational trauma. This piece disrupts the classic narrative, asking: what if the curse was passed down, not stolen?
Hades seduces both Demeter and Persephone in this dark twist on the myth. Bound by desire and silence, mother and daughter reflect a curse not stolen—but inherited.
Title: Coronation Of A Virgin
Medium: Collage (magazine and book fragments), acrylic on canvas with hand-drawn sacred geometry
Dimensions: 86"x 74"
Year: 2023
Description:
In Coronation of a Virgin, fragments from Vatican paintings collide with images from Playboy and consumer magazines—inserted into a sacred geometry pattern constructed by the artist.
At the center: an uneasy gaze. Around it: saints, breasts, architecture, hands. What begins as reverence becomes rupture.
This work explores how capitalist culture devours virginity—chewing the sacred into spectacle, purity into product. It’s a coronation, yes—but also a sacrifice. A virgin turned brand.
Title: Hollywood After Harvey
Medium: Collage ( Playboy magazine fragments), acrylic on canvas with hand-drawn sacred geometry
Dimensions: 90"x 71"
Year: 2023
Description:
Set inside a dizzying black-and-white vortex, Hollywood Galaxy captures the implosion of power after the fall of Harvey Weinstein. At its center is a devilish figure—Harvey—his head replaced by the words “Hollywood After Harvey”, crowned with red horns. Around him spin decapitated female bodies, trapped in orbit like broken satellites or sacrificed playthings.
The sacred geometry beneath the chaos mocks the false order of the Hollywood system—where glamour disguised predation, and beauty was currency in a rigged machine.
This isn’t a portrait.
It’s a system diagram.
And a warning.
Title: Capsules Of Life
Medium: Acrylic paint, collages (1971 Life Magazine), on canvas
Dimensions: 120"x 96"
Year: 2023
Description:
Circles—symbols of harmony and eternity—become fractured containers of contradiction. Inside each one: a clipped moment from Life Magazine, 1971. President Nixon’s White House wedding celebrations appear alongside scenes of famine, war, and death. One image shows cupcakes being frosted for the President’s guests. Another, an African man dying of cholera that same day.
Capsules of Life explores the dissonance between public joy and private suffering, between media spectacle and lived reality. Sacred geometry gives the illusion of order, but the images within tell a different story: one of imbalance, erasure, and historical irony.
Title: Show Me Your Teeth
Medium: Acrylic gel transfer, archival inkjet print, acrylic paint, graphite, and digital manipulation on canvas
Dimensions: 85"x 67"
Year: 2023
Description:
At the top: Warhol’s Marilyn—beauty, fame, and art-market excess. But her iconic mouth is sealed with a hand from an ancient Egyptian cage, silencing her in the language of control. Around her head: a crown of human skulls, relics of real lives, history’s discarded bodies. Below her face, a spine of stacked skulls descends, leading to a second Marilyn mouth—this one smiling, seductive, and disembodied.
Show Me Your Teeth forms a cruciform anatomy of fame, death, and feminine erasure. Sacred geometry anchors the piece, contrasting cosmic order with cultural violence. It questions the cost of visibility, the hunger for iconography, and the bones buried beneath every beautiful image.
This is not a smile.
It’s a warning.
Title: Father of USSR
Medium: Acrylic gel transfer, archival inkjet print, acrylic paint, graphite, and digital manipulation on canvas
Dimensions: 90"x 71"
Year: 2023
Description:
A red Soviet star dominates the canvas, cracked and bleeding. At its center: Lenin, the so-called father of a fallen empire, his image torn and defaced. Around him, fragments of childhood—photos of a young girl, school parades, religious refusal—blur into ideology, memory, and resistance.
Father of USSR explores the psychological imprint of Soviet patriarchy—how political icons were worshipped like saints, while children were taught obedience, silence, and scripted love for a system that devoured them. Scrawled text in Russian and English confesses rebellion: “I don’t want to go to damn church.”
“I love you, Volodya.”
“No, I’m not a jellyfish.”
This is a breakaway. A reckoning. A child’s voice raised against the red mythology that tried to script her soul.
Title: Casting Couch
Medium: Acrylic gel transfer, archival inkjet print, acrylic paint, graphite
Dimensions: 120"x 72"
Year: 2023
Description:
Barbies hand-dressed in black burkas enter a geometric scanner shaped like a skull—the center of the piece. On the other side, they emerge naked, uniform, stripped of individuality.
Casting Couch is a critique of systems—Hollywood, patriarchy, media—that transform women from veiled mystery to consumable object. The skull at the center represents the cost of transformation: identity erased, autonomy lost, beauty recoded into conformity.
The sacred geometry surrounding the process mocks the illusion of order or purpose—reminding us this ritual is not sacred.
It’s staged.
Title: Orgy of Death
Medium: Acrylic paint, graphite, chalk, pastels, mixed media transfers
Dimensions: 90"x 72"
Year: 2023
Description:
Orgy of Death stages a haunting tangle of female bodies—nude, faceless, crowned with real skulls. Their halos mimic religious icons, inscribed in Cyrillic with the plea: “Save me, God.” Surrounding them, crude male faces float like a voyeuristic swarm—watching, judging, anonymous.
This work is a cry against the eroticization of suffering. A portrait of women consumed by systems that see flesh, not soul. It’s not salvation they’re given, but spectacle.
They asked for God.
They got an audience.
Title: Faces of Fear
Medium: Acrylic paint, graphite, chalk, pastels, mixed media transfers
Dimensions: 142"x 75"
Year: 2023
Description:
Faces of Fear layers repeated self-portraits—mouth open, hands pressed against glass, caught mid-scream—over a backdrop of empty, hand-drawn faces. Each one is numbered across the forehead, turning them into unnamed victims of war, stripped of identity but marked for record.
The photographs of the artist become a universal cry, a body trapped between witness and target. Beneath them, the blank-eyed crowd stares outward—silent, counted, forgotten.
This piece speaks to the suffocating terror of being seen but not saved.
Of screaming through the glass of history, and still being erased.
Title: Last Supper
Medium: Acrylic paint, graphite, chalk, pastels, mixed media transfers
Dimensions: 115"x 62"
Year: 2023
Description:
Last Supper reimagines da Vinci’s sacred scene with a circle of nude women—bleeding, raw, and unapologetically alive—each posed in the mirrored gestures of Christ’s apostles. But at the center sits not Jesus, but Putin: his skull cracked open, his brain exposed, and Barbie dolls shooting out like shrapnel from a ruptured mind.
This is not a table of salvation, but of spectacle, invasion, and patriarchal decay. The bleeding women, stripped of shame, surround a false messiah—exposing power’s fragility and the grotesque distortion of leadership into godhood.
It’s the last supper of empire.
And the blood on the floor is real.
Title: The Forensic Evidence
Medium: Acrylic gel transfer, archival inkjet print, acrylic paint, graphite, and digital manipulation on canvas
Dimensions: 85"x 70"
Year: 2025
Description:
This piece radiates the energy of an unstable orbit — as if we’re witnessing the anatomy of memory itself unraveling mid-spin. A tangle of colored lines and soft gradients encircle the canvas, evoking the motion of planets, neurons, or the chaotic swirl of thought. Hazy yellows, reds, and blues overlap like layered time, forming a womb-like enclosure that feels both protective and volatile.
Seven irregular black patches, almost like charred film stills or censored memories, puncture the composition. Each one conceals fragments of photographic imagery — ghosts of the past embedded in a psychological map. Their placement feels ritualistic, like acupuncture needles pressing into invisible trauma points.
The stitching of red thread across the canvas adds a visceral, surgical quality — mending, binding, or perhaps constraining what wants to break free. There’s a recurring push-pull between soft and harsh, curved and angular, concealment and revelation.
This artwork operates as a visual palimpsest: part emotional cartography, part dream residue, part forensic evidence of a life you can’t quite remember but will never forget.
Title: Crazy Crone
Medium: Acrylic gel transfer, archival inkjet print, acrylic paint, graphite, and digital manipulation on canvas
Dimensions: 90"x 80"
Year: 2025
Description:
Crazy Crone is a raw invocation of the outlaw feminine — the woman who refuses to be quiet, pretty, or sane. Surrounded by slurs like hag, crone, slut, and bitch, the central figure emerges in chaos: a stitched-together body of myth, pornography, and sacred iconography. Scribbled lines spiral like tangled hair or nerves, mapping rage, trauma, and power. This is not madness — it’s survival made visible. A curse turned into a conjuring.
Title: All Seen Eye
Medium: Acrylic gel transfer, archival inkjet print, acrylic paint, graphite
Dimensions:85"x 72"
Year: 2025
Description:
A haunting cosmology built from flesh, memory, and myth. At its center, an eye replaces the divine — not to see, but to expose. The figure it anchors is a vertical relic: a fragmented body composed of a man and a woman, skulls for faces, and the artist’s own screaming mouth, embedded like a buried truth.
Concentric circles radiate outward like orbit paths or target lines — not measuring space, but mapping psychic trauma. Identity here is not linear. It spirals. It burns. It survives.
In All Seen Is Eye, the personal becomes planetary, the anatomical becomes cosmic, and the gaze becomes power.
Title: Overthinking
Medium: Acrylic paint, graphite, chalk, pastels, mixed media transfers
Dimensions: 90"x 85"
Year: 2023
Description:
Overthinking is both a painting and a breakdown — a sacred implosion rendered in collage, charcoal, pastel, and protest. Religious relics rupture through the storm: fractured images of Jesus, Mother Mary, and saints with painted faces stare out from a battlefield of text and gesture. Icons once meant to soothe now hover like witnesses or ghosts.
The phrases scrawled across the canvas don’t whisper — they bite:
“Don’t let her win.”
“Pray.”
“Ugly.”
“Fuck off.”
“Not today, Mona.”
“Yoda.”
It’s part catechism, part curse. The sacred meets the profane, not in conflict, but in confession. Faith, feminism, and fury intertwine until the canvas itself becomes a mind mid-spiral — trying to remember how to believe in something without losing itself.
Every painted face is a mask and a mirror.
Every holy figure is reclaimed — not for worship, but for witness.
This is what it looks like when thinking won’t stop — and maybe shouldn’t.
Title: The Roots Don't Lie
Medium: Acrylic paint, graphite, chalk, pastels
Dimensions: 95"x 75"
Year: 2023
Description:
In The Roots Don’t Lie, raw anatomy collides with mythic distortion to reveal a truth deeper than logic: the wisdom of the body. The central nude figure, sprawling and hyper-flexed, evokes both fertility and defiance—her many limbs extend like roots in search of ancestral memory. With Cyclopean stares and symbolic eyes embedded in torsos, these figures are not merely human but spiritual hybrids: part flesh, part witness.
Rendered against a stark, almost hypnotic black-and-white vortex, the painting mirrors the tension between indigenous intuition and colonizing systems of control. The red humanoids—sharp, square, mechanical—grapple with the fluidity of the central body, as if trying to possess or confine what cannot be owned.
This work honors native people not through romanticism, but through embodied resistance. Here, truth lives in the body—twisted, primal, unapologetic. A scream. A reach. A memory that refuses to be erased. Because the roots don’t lie. They remember. They survive.
Title: Fever Dream in Rainbow
Medium: Acrylic paint, graphite, chalk, pastels, oil sticks
Dimensions: 110"x75"
Year: 2023
Description:
Fever Dream in Rainbow is a dizzying descent into the chaos of visibility. Spirals, limbs, and eyes tangle across the canvas like psychic circuitry—some divine, some digital. At the core: a human form fractured by color and code. The rainbow blazes across the chest like both a blessing and a target, queerness rendered not just as pride, but as performance, exposure, exhaustion.
Eyes repeat obsessively, embedded in halos and voids. The black-and-white vortex suggests surveillance, recursion, infinity. Multicolored loops mimic neural maps or internet trails, echoing the overstimulation of life lived online—where joy, identity, and spectacle blur until they collapse into one.
The bodies don’t pose. They fall, float, twitch. This isn’t a self-portrait. It’s a glitch caught mid-scream.
Title: The Shadow Dancer
Title: The Shadow Dancer
Title: The Shadow Dancer
Medium: Acrylic paint, graphite, chalk, pastels, oil sticks
Dimensions: 84"x62"
Year: 2023
Description:
Shadow Dancer is a mixed-media artwork that merges figuration, text, collage, and abstraction into a powerful act of personal reclamation. A dynamic, abstract human figure—painted in strokes of black, gold, and sienna—twists across the canvas like a spirit mid-transformation. Embedded within and around the figure are floral photo collages and urgent handwritten affirmations, such as “Leave the shadow behind” and “What you did in the past is NOT who you are.”
The body becomes a battleground between past shame and future self-acceptance. Flowers—symbols of vulnerability, softness, and rebirth—interrupt the negative internal voices scrawled in ink, reframing them with gentleness. The work directly confronts the dualities of identity: shadow/light, love/hate, chaos/change. It offers not closure, but motion—a continuous turning toward light, despite the pull of shadow.
This piece is both visual diary and emotional exorcism. It invites viewers not just to witness transformation, but to engage in their own.