My first medium was Ticonderoga #2 pencil and printer paper used to sketch portraits of shirtless Goku. Then I armed myself with my uncle’s old Minolta and a darkroom in high school, where I developed portrait photography and exhibited Faces of IMSA outside the principal’s office. I focused on capturing emotional presence, something I’ve continued to explore across mediums, at a highly technical boarding school Wired called “Hogwarts for Hackers.”
In Copenhagen, I shifted to architecture and furniture design, drawn by how structure and form can shape feeling, while deepening my interest in how material objects can carry emotion and narrative.
In San Francisco, my practice drifted to gestural expression in painting. I rented studio space at Art Explosion and exhibited at Unit 809. After the space and materials took too much overhead, I worked on one-off wood projects.
I’m currently exhibiting at the Harvey Milk Photo Center, Unapologetically Queer (June 21 – July 31, 2025) and working on new collage work for a solo show. I’ve also started the long journey of senbazuru, the Japanese origami practice of folding a thousand cranes, to create what I call origami sculptures.
As a sober QTPOC with a disability, I hone my practice to ask how emotion can take form—and how making can become a form of grounding.
In San Francisco, my practice drifted to gestural expression in painting. I rented studio space at Art Explosion and exhibited at Unit 809. After the space and materials took too much overhead, I worked on one-off wood projects.
I’m currently exhibiting at the Harvey Milk Photo Center, Unapologetically Queer (June 21 – July 31, 2025) and working on new collage work for a solo show. I’ve also started the long journey of senbazuru, the Japanese origami practice of folding a thousand cranes, to create what I call origami sculptures.
As a sober QTPOC with a disability, I hone my practice to ask how emotion can take form—and how making can become a form of grounding.