ART WORK
THE BEGINNING OF MY STORY.
It all started with drawing. Ever since I was little, I was hungry to pick up a pen or pencil and draw the world around me. Illustration is something I've kept doing on the side for fun or small freelance projects.
When I was in middle school, I made hand-bound notebooks and sold them around Berkeley. In high school, I was accepted into a magnet art program that entailed daily studio sessions. During my undergraduate career, I traveled to Gambia, West Africa, where I co-hosted art classes to medical patients. I then did a dual thesis in art history and painting. Between my undergraduate and graduate career, I cultivated personal and freelance creative projects to keep those gears turning. The visual language has always been my natural disposition for self-expression and communication. Naturally, it lead me to graphic design, where I ultimately unearthed an authentic passion for combing visual storytelling and social function. The beginning is an important part of the story, though.
A GOOD MAN IS HARD TO FIND
FLANNERY O'CONNOR
ILLUSTRATION
CYBERSTALKING
ILLUSTRATION
An illustration for the cover of an article about cyberstalking. This illustration's palette captures the eerie greenish-blu screen light glows. Meanwhile, the predator being the girl's shadow imbues an unsettling feeling of being watched. Swiping, posting, selfies all release information into the digital nebula. This article stresses the importance of being prudent.
Meticulous line work is my (insane) love. I absolutely enjoy sitting down for hours drawing every grass in the landscape, hair on the head, etc. Detail is sometimes everything.
After the 2016 elections, I felt a hunger to capture the upheaval and stirring political and social climates.
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UNDERGRADUATE DUAL THESIS
Telling a story is what I love to do. I especially enjoy exploring how I can tell the story abstractly, by combining various media, and painting. Below are a few images from my undergraduate thesis in which I explored portraiture with and without the figure. I also looked at how I could combine the abstract with the figure by projecting the abstract portraits on top of the person and photographed that interaction. Those photographs became references for paintings.
