
These works fuse image and text not to illustrate but to agitate—to provoke a collision between gesture and language, color and meaning. I’m drawn to collapse—of form, of syntax, of the polished surface. Letters slip loose from grammar, paint interrupts typography, becoming conduits for disruption or release.
I treat the page or screen as a contested space, where fragments—poetic, absurd, or brutal—coexist without hierarchy.
This is a visual stammer, a syntax in free fall. Some phrases are drawn from my poems, others from the static of daily life—overheard, misread, or hallucinated.
The series is not about clarity but about friction, rhythm, rupture. A new language—not to explain, but to insist. To speak through the wreckage.



These works fuse image and text not to illustrate but to agitate—to provoke a collision between gesture and language, color and meaning. I’m drawn to collapse—of form, of syntax, of the polished surface. Letters slip loose from grammar, paint interrupts typography, becoming conduits for disruption or release.
I treat the page or screen as a contested space, where fragments—poetic, absurd, or brutal—coexist without hierarchy.
This is a visual stammer, a syntax in free fall. Some phrases are drawn from my poems, others from the static of daily life—overheard, misread, or hallucinated.
The series is not about clarity but about friction, rhythm, rupture. A new language—not to explain, but to insist. To speak through the wreckage.