Work in Ash is an ongoing series where significant objects — hair, BOOKS, a house — are burned and their ashes are used in new paintings and drawings. The ash becomes pigment: a residue of the destruction and a medium for the creation.

Ash is what remains after meaning is erased. It is not beautiful. It crumbles up in your hand when you touch it. It resists symbolism. I simply want to test how something lost can still insist on being present.

Not exactly. Work in Ash did begin with a drawing of my mother made with a pinch of her ashes. I mixed it into graphite. Then I did the same thing in oil paint. But the project expands outward — to banal things. Like a cake I once ate. It’s not a monument to grief.

Mainly oil and graphite — and always some ash.

Sometimes bound with casein or egg tempera.

The works are both figurative and abstract.

Selected pieces are available here via Big Cartel. I also share works-in-progress and writing on Instagram and Substack. For exhibitions, publications, and press, please contact me directly.

Yes. I co-founded Studio Total, a conceptual activism agency known for stunts like the teddy bear airdrop over Belarus. It was closer to theatre than strategy — an experiment in how ideas could intervene directly in politics. I still think my art has to do with disruption and absurdity .

No. I studied psychology at university and worked in startups before returning to painting. My practice has always been experimental and self-taught. I’ve long been crossing between performance, design and visual art. Painting is not a schism with that past but a continuation.