My work stems from my interest in the power of images. From advertising and product design to museum pieces and iconography, we have long used imagery to attract, convert, and sell. I see these modern and ancient examples as segments of a larger continuum of images. I choose animal and robot imagery as stand-ins for traditional human subject matter. Through these I explore issues like consciousness, free will, and mortality.

My work is mainly focusing on looking for the shape and the color of human beings' desire. I create a kind of bodily semi liquid (which is called flows by me) to fill up my subjects, figures, space and even viewers. Flows not only represent the underneath relationship behind images but also project the absurd fantasy spurting from me. I am eager for creating my own vomiting aesthetics which bases on present popular culture and superficial communication. Most of my images are from my daily manipulative visual environment.

My recent work was inspired by the ancient form of Buddhist mandalas, which use simplified floor plans as metaphors for the structure of the human soul. They made me wonder: in what kind of architectural structure does the modern soul reside? What effect have modern-day complications had on us psychologically and spiritually: stress, guilt, our overabundance of responsibilities, along with our cultural emphasis on individual importance?

I am interested in hybridization as a social, psychological, and political tool. The process of reimagining what is understood to be concrete, static, or truth brings me great joy. Working to activate observations of our history, culture, and psychology in a graphic way, allows an open-endedness that begs for questioning. The resultant outcome is humorous, a little creepy, but always seductive.

My work features painting, video and performances that explore the phenomenon of contemporary propaganda and brand building as well as the cultural context of media and marketing and how they are both disconnected and relevant to fine art. Additionally I seek to expose the stereotypes around black masculinity as reflected in contemporary media.

This series of work started with a laugh, what the hell are these creatures? I was given a figurine as a gag gift at Christmas several years ago while I was living in Dubai. My interest in finding out about the figurine led me to Zhu pa Zhaie. He is known for his laziness, his gluttony, and his propensity for lusting after pretty women. These “sexy” scantily clad pigs squeezing their exposed breasts and striking seductive poses are not typically acceptable material in the Muslim world, however these items were found on open display in a Japanese yen store in Dubai.

My works are based on my memories of childhood. Sometimes I recalled images of these childhood memories. These images change every time, and become my own personal images that give me a mysterious feeling. I express these remembered images in my work using abstraction form. Most of these are in the ordinary scenery of nature.

I interpret some branding of conventional meaning in symbols as indirect realisms. I will often work from a noted daily collection of featured visual fragments. In order to challenge a possible objective interpretation, I expose features to counterpart fragments in a particular setting. I consider the settings to be in a genre related to landscape planning diagrams, topographical maps or architectural plans. For me, these plans exist as standalone utopian environments where people can create things, or think, or interact, or observe.

In these large scale narrative figure paintings set in invented landscapes, I have sought a dynamic rather than a formulaic balance between the ideal and the real. The narratives are drawn from multiple myths, but the figures are portraits of specific individuals who are well known to me rather than idealized types. This has given the narratives an added "charge" and has served to ground the subject matter in the here and now.