Water Wallace Jr Police Killing (2020) 60”x72”
"On October 26, 2020, Walter Wallace Jr., a 27-year-old African-American man, was fatally shot by Philadelphia police officers Sean Matarazzo and Thomas Munz in Cobbs Creek, Philadelphia, Pennsylvania. The two officers arrived in the area to respond to a domestic dispute. The painting portrays a young black man’s death with legal societal murder in a controversial part of American culture. The depiction of the human figure, hands, faces, and attire express a hyper visceral and grotesque visual roughness where the characters are luminate like a biblical event. The artist involved scenes from his experience in Philadelphia highlighting the architecture, police uniform, afro-Muslims and influences from the Philadelphia Art museum. As seen in the painting is a self portrait as he glares across the scene at the arrival of death. Inspired by the political subject, this scene was painted shortly after Water Wallace Jr.'s death where the city erupted in unrest, rioting and more looting".
Medusa (2021) 36”x36
I676 Tear Gassing (2020) 60”x72”
Late in the afternoon on June 1st 2020, hundreds of protesters had packed onto Interstate 676, marking the third day of civil unrest in Philadelphia after George Floyd, an unarmed Black man, was killed by Minneapolis police. The scene showed protesters scrambling up an embankment to exit the highway as Philadelphia SWAT officers launched tear gas at them. I could hardly sleep and was so inclined to paint this as an ode to the city I'm from Philadelphia.
In school I was really into figure drawing and experimented with quite a number of different arts and observed how one idea from one field could be applied to another discipline on the complete opposite side of the spectrum; developing lexicons for your own programming had similarities to discovering your distinct symbolize in cubism. When I first started I was into copying old master works and going out painting landscapes; competing in juried shows and every so often I’d get 2nd or 3rd placements. I would spend some summers at residencies when I could get accepted otherwise alone in my room painting everyday late into the night after my day job. I looked like a promising prospect to my college professors but ended up dropping out a few credits shy of graduating because I could not justify the debt that I was acquiring, contrasting with the growth I was experiencing from the establishment, it was no longer about a degree. The fork in the road, a cross road of becoming an establishment faculty member like the rest of them or forge a unique path. All I knew was I definitely wasn’t going to take up the family business and paint nails for a living.
First Date (2021) 72”x60
Protest’s Rally(2020) 60”x72”
This painting was inspired by anti-fascist groups that gathered around Philadelphia and protested with megaphones during the summer.
Everybody has picked up a pencil or crayon and drawn lines to craft letters even before grade school. Drawing breeds a natural familiarity way down to the muscle memory connecting you to your childhood and development. My earliest memories of drawing were in my backyard, between collecting fireflies in the setting sun and finding cicada shells with my brothers. At that time I was drawing with a stick in the dirt; whatever kids draw at that age, for me it was imaginary characters and the bugs we collected. While I was drawing in the dirt at a very young age my parents were painting nails as it was the go to business venture of aspiring Vietnamese immigrant self-starters. Come to think of it my earliest memories of painting were of my parents painting on those acrylic nails to feed the family and somehow morphed into what I do today. It was tough for them since they had no education, and could barely speak the language so it was really up to my brothers and I to handle the growing up in America. In that way we had to be creative with how we entertained ourselves. So deciding to become an artist was as close to Pluto to the reality I was brought up in and yet right on the very fingertips of so many.
Red Double Portrait (2021) 36”x36
Currently I’ve been gaining personal ground in the realm of cubism, exploring everyday life again, observing common trends in culture and collaborating with other artists. I‘m finding that with the decrease in privacy over the last decade all the madness of being human is becoming more apparent and less disguised. I’m using cubism to represent this fracturing that is occurring with our general consciousness and self image. The combination of forms where there is still semblance softness with beauty and the abrupt sharpness of a razor blade. Outside that I’ve been also exploring the Blockchain technology as it begins to create avenues for artists where I’m fusing my cubist paintings with animation bringing them to life and seeing where that field is heading.
Capitol Death (2021) 60”x72”
This was a piece of imagery I found myself playing with after the capitol riots and exploring that chaotic energy that was looming.
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