Collections
Selected bodies of work exploring value, memory and disappearance.
Featured collection
Currency Wars
Currency Wars is built on the premise that trust is the only thing money has ever been made of, and that trust, once broken, cannot be legislated back into existence. Working with the banknote imagery of specific failed currencies (the Chinese Renminbi, the Venezuelan Bolívar Fuerte, the US dollar, the Zimbabwean hundred-trillion), the series reinterprets the ornamental grammar of monetary authority. Each work stages the failure of a specific currency system, in the visual language of that system’s own design vocabulary.
FIAT is disappearing
FIAT is Disappearing renders the dollar symbol as pure relief, present but invisible, felt rather than seen. Multilayer blind embossing is a printer’s device for conferring authority without colour; here it enacts the work’s argument: the power of fiat systems survives longest as pressure, as the residual impression of something already leaving. The black-and-white editions present the same disappearance from opposite ends of the tonal range. The dollar symbol pressed into black Hahnemühle paper, 80 cm wide and two metres tall, is perceptible only under raking light or by touch. FIAT survives as an impression: the physical trace of something once declared, now only tactile.
2 works
German Mark
A recreation of a 1920 Reichsmark note, produced using silkscreen and woodcut techniques historically associated with the reproduction of value, subverting them to reframe a document of monetary catastrophe as an art object. The source material is the German hyperinflation of 1923, when the Weimar Republic's mark collapsed to 4,210,500,000,000 to the dollar. Borrowing Hemingway's phrase for financial ruin, “gradually, then suddenly”: the piece functions as both historical record and provocation, positioning the current debate around decentralised finance not as rupture, but as legible consequence.
1 work
Newspaper
Front pages are the first draft of history: urgent, frameable, and sometimes framed again. The Newspaper series selects three landmark moments from Bitcoin’s legislative history in El Salvador and returns them to the scale and materiality of painting: inkjet print, silkscreen, glitter, and hand-applied paint on canvas, each measuring 100 × 130 cm. The newspaper’s own visual grammar, condensed typeface, justified columns, and the urgency of the single-line headline are expanded to painting scale and inserted into the conceptual space of fine art.
3 works