FILM

Film making, to me, is a form of alchemy—transforming the ordinary into something extraordinary. While a healthy budget certainly provides a measure of artistic freedom, I’ve found that I get most fulfillment from the resourceful problem-solving that comes with a more restrictive budget. It’s in these limiting moments that I truly hit my stride, creating visuals that feel both intentional and inspired while still staying on budget.

My aesthetic draws deeply from dark, meticulously crafted worlds like The Handmaid’s Tale and Dune. I’m also informed by films that utilize a strong sense of line and color; films like Hereditary, where color is a quiet yet powerful undertone or in Her and Strange Darling where it’s so bold, it might as well be a line of dialogue. Mastering this nuanced visual language is a skill I refine with every project.

While I welcome every opportunity to create, I am eager to take on projects with visually dark and fantastical elements that allow me the chance to experiment and, as David Lynch might say, “go dreamy.”

ART

After decades of struggling with my identity as an artist, I’ve finally come to terms with who I am.

I am not a Vermeer,–I am an Izquerdo, a Kahlo, an Orozco. As much as my perfectionist mind yearns for the photo realism of the master artists I’ve studied, my heart beats faster when my symmetry is off and when my colors are over-saturated.

In a world where “content” and AI have begun to take the place of art, every intentional brushstroke I make is a revolution. It’s a rebellion. I create when the time is right to create, and not a moment before. I always say I never know what I’m going to do until right before I do it. When inspiration hits, there is a deadline. The longer I take to create something, the quicker it dies. My brush strokes are hasty and energized–there is no time for the minutia.