EVERY PLATFORM SAYS IT'S FOR CREATORS. FOR EXPRESSION. BUT THE SECOND YOU TOUCH SOMETHING REAL. THEY BURY IT. NO EXPLANATION.
JUST SILENCE. THEY SAY IT'S "SAFETY." WHAT THEY MEAN IS CONTROL.
THEY DON'T BAN YOU. THEY JUST MAKE SURE NO ONE SEES IT. QUIET CENSORSHIP WRAPPED IN CLEAN DESIGN.
Slimesunday
superrare
24hoursofart
Slimesunday
superrare
24hoursofart
Polite Language branded values. They don't need to say "stop" they just fade you out until you disappear. and it's not the audience that's afraid. It's the people in the conference rooms. The ones writing the rules. optimizing the platforms.
so yeah, i could play it safe. make what fits. but that work wouldn't be mine.
Polite Language branded values. They don't need to say "stop" they just fade you out until you disappear. and it's not the audience that's afraid. It's the people in the conference rooms. The ones writing the rules. optimizing the platforms.
so yeah, i could play it safe. make what fits. but that work wouldn't be mine.
EVERY PLATFORM SAYS IT'S FOR CREATORS. FOR EXPRESSION. BUT THE SECOND YOU TOUCH SOMETHING REAL. THEY BURY IT. NO EXPLANATION.
JUST SILENCE. THEY SAY IT'S "SAFETY." WHAT THEY MEAN IS CONTROL.
THEY DON'T BAN YOU. THEY JUST MAKE SURE NO ONE SEES IT. QUIET CENSORSHIP WRAPPED IN CLEAN DESIGN.
Polite Language branded values. They don't need to say "stop" they just fade you out until you disappear. and it's not the audience that's afraid. It's the people in the conference rooms. The ones writing the rules. optimizing the platforms.
so yeah, i could play it safe. make what fits. but that work wouldn't be mine.
Polite Language branded values. They don't need to say "stop" they just fade you out until you disappear. and it's not the audience that's afraid. It's the people in the conference rooms. The ones writing the rules. optimizing the platforms.
so yeah, i could play it safe. make what fits. but that work wouldn't be mine.
Polite Language branded values. They don't need to say "stop" they just fade you out until you disappear. and it's not the audience that's afraid. It's the people in the conference rooms. The ones writing the rules. optimizing the platforms.
so yeah, i could play it safe. make what fits. but that work wouldn't be mine.
Slimesunday
superrare
24hoursofart
Slimesunday
superrare
24hoursofart
Weedman
Resin, weed, paper (22in x 17in x 4.5in)
2022
Collage using Archival Ink on Hahnemuhle photo rag paper
Inspired by a vintage Playboy magazine and a pile of ground weed on my coffee table, 'Weedman' originated from a late-night creative session. While working on visuals for one of Playboy's final print issues, which included an article titled 'In Drugs We Trust,' I came across an old sunglasses ad featuring Renauld White. This encounter led to an experimental fusion of marijuana and glue, culminating in one of my all time personal favorite artworks.Over the years, this concept underwent significant evolution. I presented Playboy with a proposal to reimagine 'Weedman' on a larger scale, increasing its size fivefold and setting it in transparent resin. Although initially celebrating marijuana's widespread legalization and recreational use, our collaboration evolved into a deeper narrative. The artwork emerged as a statement on the disproportionate impact of historical drug laws on Black communities. As a commitment to social justice, Playboy and I donated $10,000 to the Last Prisoner Project, symbolizing our dedication to addressing the injustices caused by previous cannabis convictions.
Weedman
Resin, weed, paper (22in x 17in x 4.5in)
2022
Collage using Archival Ink on Hahnemuhle photo rag paper
Inspired by a vintage Playboy magazine and a pile of ground weed on my coffee table, 'Weedman' originated from a late-night creative session. While working on visuals for one of Playboy's final print issues, which included an article titled 'In Drugs We Trust,' I came across an old sunglasses ad featuring Renauld White. This encounter led to an experimental fusion of marijuana and glue, culminating in one of my all time personal favorite artworks.Over the years, this concept underwent significant evolution. I presented Playboy with a proposal to reimagine 'Weedman' on a larger scale, increasing its size fivefold and setting it in transparent resin. Although initially celebrating marijuana's widespread legalization and recreational use, our collaboration evolved into a deeper narrative. The artwork emerged as a statement on the disproportionate impact of historical drug laws on Black communities. As a commitment to social justice, Playboy and I donated $10,000 to the Last Prisoner Project, symbolizing our dedication to addressing the injustices caused by previous cannabis convictions.
180 Squares
(31 x 37in)
Collage using Archival Ink on Hahnemuhle photo rag paper
I love David Hockney’s “joiners” works. They are unique series by Hockney that utilize a series of polaroid photos arranged in a cubic fashion. I have created works in this vein before and continue to do so, because there is something I really enjoy about taking a single subject, cutting it up into squares and remixing the image to show it in a new way. The process involves 3 separate prints and strategically shifting each square to create the illusion. Im drawn to squares as a representation of pixellation, themes of censorship are oftentimes buried within my work.
180 Squares
(31 x 37in)
Collage using Archival Ink on Hahnemuhle photo rag paper
I love David Hockney’s “joiners” works. They are unique series by Hockney that utilize a series of polaroid photos arranged in a cubic fashion. I have created works in this vein before and continue to do so, because there is something I really enjoy about taking a single subject, cutting it up into squares and remixing the image to show it in a new way. The process involves 3 separate prints and strategically shifting each square to create the illusion. Im drawn to squares as a representation of pixellation, themes of censorship are oftentimes buried within my work.
180 Squares
(31 x 37in)
Collage using Archival Ink on Hahnemuhle photo rag paper
I love David Hockney’s “joiners” works. They are unique series by Hockney that utilize a series of polaroid photos arranged in a cubic fashion. I have created works in this vein before and continue to do so, because there is something I really enjoy about taking a single subject, cutting it up into squares and remixing the image to show it in a new way. The process involves 3 separate prints and strategically shifting each square to create the illusion. Im drawn to squares as a representation of pixellation, themes of censorship are oftentimes buried within my work.
180 Squares
(31 x 37in)
Collage using Archival Ink on Hahnemuhle photo rag paper
I love David Hockney’s “joiners” works. They are unique series by Hockney that utilize a series of polaroid photos arranged in a cubic fashion. I have created works in this vein before and continue to do so, because there is something I really enjoy about taking a single subject, cutting it up into squares and remixing the image to show it in a new way. The process involves 3 separate prints and strategically shifting each square to create the illusion. Im drawn to squares as a representation of pixellation, themes of censorship are oftentimes buried within my work.
180 Squares
(31 x 37in)
Collage using Archival Ink on Hahnemuhle photo rag paper
I love David Hockney’s “joiners” works. They are unique series by Hockney that utilize a series of polaroid photos arranged in a cubic fashion. I have created works in this vein before and continue to do so, because there is something I really enjoy about taking a single subject, cutting it up into squares and remixing the image to show it in a new way. The process involves 3 separate prints and strategically shifting each square to create the illusion. Im drawn to squares as a representation of pixellation, themes of censorship are oftentimes buried within my work.
Sunday School Dropout
NYC Wheatpaste on Wood Panel
40x40in
Sunday School Dropout
NYC Wheatpaste on Wood Panel
40x40in
