In the images below, the round SHAME rugs are shown in their pre-sculpted state — the carving process will take place soon. The devil faces are currently undergoing sculpting, gradually taking on their final, semi three-dimensional form.

SHAME is the starting point and central thread of this cycle. Each work—anchored by large, over 6-foot diameter rugs made of thick, colorful lambswool—functions as both a portal and a container for emotional memory. These tactile, vibrant forms invite intimacy, but their softness belies the weight they carry.

Theidea that much of modern life revolves around something as abstract and constructed as money, a symbolic system that often feels disconnected from real human needs or values.

Money itself has no inherent value; it’s only valuable because we collectively agree that it is. And yet, it shapes our lives: where we live, what we eat, whether we’re safe, how much time we can spend with those we love, even how we perceive ourselves.

Calling it "absurdly unnecessary" is a powerful critique — and one that has fueled everything from philosophical treatises to political revolutions. In a world with so much abundance, it’s maddening that artificial scarcity, inequality, and suffering persist because of a system designed around profit rather than human well-being.

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Those paintings explore the intersection of mythology, power, and identity through paintings and illustrations of devils in beautiful, feminine forms. These figures embody a cultural narrative that has, for centuries, demonized strong, powerful women and those who do not conform to cisnormative ideals. By reimagining these so-called "monstrous" identities as divine and empowered, my art confronts the dehumanizing lens of history. It reclaims the demonized archetype, transforming it into a symbol of resistance and beauty. Each piece is a visual act of defiance—one that reclaims agency, redefines strength, and challenges who gets to be seen as human.

This work does not center whiteness or uphold dominant Western ideals. Instead, it challenges viewers—including the creator—to question where those ideas come from, and where they overlap in different cultural systems of control. Through visual storytelling, I search for common ground in shared histories of marginalization, while reclaiming space for identities that have been silenced, feared, or erased.

Soon.

Soon.