Deconstructing conspiratorial documents, I investigate our obsession with making sense of an increasingly incomprehensible world where data is always spreading, mutating, and becoming obscured.

My paintings begin by printing declassified documents and images found in internet “rabbit holes” on conspiracies. I blend these prints into a paper-mache pulp, applying it over an abstract ground to form misshapen, overlapping grids. The painted ground serves as an expressionistic field open to interpretation, while the pulp layered atop it represents visual perception trying to decipher meaning. The grid’s deformity signifies a distorted perspective amidst an unstable world order.

This representation of deformity also reflects my personal experience with disability and neurodivergence as I navigate the world through dysfunction, pattern recognition, and sensory overload. While grids historically rejected illusion in favor of reality, I use them to symbolize perception as an entanglement of reality, illusion, and delusion. They embody the urge to see connections, whether real or imagined.

The grids can be understood as the viewer’s attempt to decode the painting, the grand designs of secret plots, synchronicity, or apophenia. Formed from shredded images, they both suppress and reveal. This dissembling responds to a contemporary epistemic crisis in which information is simultaneously too dense and too unreliable. The resulting work mirrors a mental state of paranoid uncertainty: a desire to cast off illusion and reveal hidden realities, mixed with the haunting suspicion that everything happens for a reason.