I deconstruct conspiratorial documents through mixed-media paintings and sculptures that are both conceptual and expressionistic. Through my work, I examine our obsession with making sense of an incomprehensible world in which data constantly spreads, mutates, and disappears.

My process begins by blending declassified documents and images into a paper-mache pulp. The pulp abstracts real and erroneous conspiracies, shredding them into an illegible residue of lies and truths that speaks to a desperate need to understand. To create my paintings, I apply the pulp over a painted ground to form misshapen grids. While the ground invites open interpretation, the grid represents visual perception trying to decipher meaning. Its deformation echoes the instability of that effort. My sculptures expand these intersecting grids into three dimensions, layering the pulp over paper-mache clay and wire armature.

Through the grid’s deformity, I confront the precarity of an incomprehensible world, as well as my own distorted perspective. In this way, the work reflects my personal experience with disability and neurodivergence as I contend with dysfunction, heightened pattern recognition, and sensory overload. Historically, the grid was used to reject illusion in favor of reality, but I use it to symbolize perception as an entanglement of reality, illusion, and delusion. My grids embody the urge to see connections, whether real or imagined. They depict both my own and the viewer’s attempts to decode the patterns all around us: from secret plots and synchronicity to apophenia and the artworks themselves.

Using pulped images as a kind of hypercollage, I respond to a contemporary crisis of knowledge in which information is too dense to understand and too unreliable to trust. The resulting work mirrors a state of paranoid uncertainty: a compulsion to cast off illusion and reveal hidden realities, mixed with the haunting suspicion that everything happens for a reason.