My work is like a D.I.Y science fiction film, or a paused computer game. As with any D.I.Y aesthetic, my visual language is a Frankenstein’s Monster iconographies and references, drawn mostly from my childhood. I like to avoid directly referencing or reproducing my influences, rather I like to allude to them as if they are seen through the fog of nostalgia. For example, a recurring motif in my work is a male face. It seems that everyone has a different interpretation of who this face belongs to, some have claimed it is a rapper, some a samurai mask, and some an alien.

 I draw very repetitively and obsessively, and my subject matter is always imaginary. The process for me feels like reading a story or watching a film, as I improvise my drawings from start to finish, so every mark I make is visible in the final product. The drawings are usually made up of a large number of repeated patterns and variations, intended to draw the viewer into the same train of thought that I experienced while drawing. For me, drawing is a very basic act, more basic even than talking or writing, and I feel that it communicates directly with the imagination. I want looking at my drawings to be a creative act in itself, like creating a visual labyrinth for the viewer to find their own way to escape.

 While my imagination tends towards the futuristic and the speculative, my visual language has been heavily influenced by primitive forms of art, particularly the pictograms and hieroglyphics of extinct cultures like the Mayans and the Incas. When this art was created, there was really no concept of ‘the artist’ as there is today. Art was really more about creating a common language of experience and belief, and I really aspire to this ideal.