My work begins with found printed matter, old magazines, archival imagery, etc.

I've always been fascinated by the soft propaganda embedded in mid-century editorial culture — the polished optimism of publications like Life and Paris Match.

A vision of progress manufactured through glossy pages — polished cars, the whitest smiles, and an optimism that bordered on delusion.

The gesture of acrylic and ink interrupts that narrative, introducing the inherent instability of reality into images that once promised clarity and control.

It's Spanish Baroque confronting German Romanticism.