UNTITLED - New series
In line with some of my previous work, these new paintings explore the relationship between the individual and society.
At the core of this ongoing body of work is The Metamorphosis by Franz Kafka. Kafka introduces an absurd element in his novel by transforming the protagonist, Gregor Samsa, into an insect. The author offers no explanation for Samsa's transformation, and the protagonist himself does not seek one. Instead, the focus is on Samsa’s attempts to cope with his new reality. His transformation serves as a powerful metaphor for alienation in modern societies, where individuals are increasingly isolated and disconnected from the social networks they once relied on. As Samsa’s family and coworkers reject him, his body becomes less than human—a subhuman, a monster.
Law enforcement uses mug shots to maintain a photographic record of arrested individuals. In many cases, these photos are public domain and readily accessible online. These mug shots became the starting point for this project. My aim was not to justify or glorify the individuals portrayed but to examine how society perceives them. Regardless of the severity of their offenses, they are—and will continue to be—stigmatized. By “metamorphosing” them into bugs, I question whether their lives might have taken a different trajectory if they had access to an effective and compassionate support system.
Scholars argue that while genetic and biological factors may contribute to criminal behavior, it is ultimately social factors that shape wrongdoing. Alienation is considered a significant driver of lawlessness. When individuals feel disconnected from society and lack a sense of belonging, they may resort to unruly behavior as a way to express frustration, gain a sense of control, or find community within deviant groups, often disregarding social norms and values.
In the current socio-political climate, both in the U.S. and globally, alienation has become pervasive. Individuals and entire groups are being marginalized due to their religious beliefs, gender, ethnicity, political affiliations, and social status. It seems that no one is immune to this phenomenon. My paintings depict a range of characters in various stages of transformation. They are grotesquely symbolic portraits of everyday people turned into nightmares. My goal is to challenge viewers to consider whether there is any humanity left—not in the surreal figures I’ve painted, but in the real individuals they represent: the incarcerated, the convicted, and those who live in society’s shadows. Can we entertain the possibility that these "monsters" might transcend their current states and become something more?