Mixed Media

A bomb reduces everything nearby to fragments—buildings, lives, communities. These collages capture the instant of detonation, with vibrant surfaces concealing violent destruction. Bombings remain a devastating tool of terrorism, leaving grief in their wake. I pay tribute to the cities and homes senselessly destroyed. From these ruins, I salvage remnants—colors, objects, even body parts—to reflect both loss and survival. The work honors the resilience of the human spirit and its refusal to vanish. These titles represent past bombings, listing the date along with the number of people killed and injured.

Crime Scenes is a series depicting the aftermath of home invasions—disrupted interiors viewed from above, like forensic photographs. These flattened spaces echo the chaos of real events: overturned furniture, shattered objects, traces of violence. The work explores how terror penetrates homes or the home. As with other forms of violence, home invasions are disorienting and unpredictable, fracturing our sense of safety and turning private sanctuaries into sites of trauma. These crime scene titles reference fictional addresses in wealthy neighborhoods.

Hanging Women Out to Dry is a series of abstract collages confronting the vulnerability and erasure of women who have survived sexual assault. Made from deconstructed flower photographs I took early in my practice, the works evoke fragmented, suspended bodies—broken, exposed, and disconnected from their cores. These images speak to the violence not only of the act itself, but of a justice system that abandons survivors, leaving them isolated in the aftermath, suspended in a space of pain and silence. These titles reference past sexual assault cases in which the plaintiff lost.

“Color Etudes” is a series of artworks that capture the dynamic energy and emotional intensity of bold hues, inviting the viewers to experience the raw and unapologetic force of color. Each piece uses vivid and contrasting palettes to create the impact that color alone can convey.

Shooter in the Crowd reflects the pervasive threat of gun violence and the illusion of public safety. Collaged from photographs of a summer gathering in Central Park, the scenes appear festive at first—until a closer look reveals a lone gunman moving through the crowd. Figures are rearranged like actors in unfolding chaos, gradually dissolving into abstraction. Only a dog senses the danger, howling into a world too distracted—or desensitized—to hear the warning. The titles reference psychological concepts that originated from studies of individuals involved in past shootings, and phrases extracted from manifestos that promote terrorism or call for the extermination of a racial group.

New York intersections are stages of constant motion, where lives briefly converge before parting again. In these collages, I isolate figures that catch my eye, imagining connections—or disconnections—between them. The surrounding cityscape is restructured to heighten their presence. Hand-cut and digitally assembled, the works shift between realism and abstraction, echoing the rhythm and disorientation of city life.