Dept. of War, 135 x 90 cm, acrylic on canvas, 2026

False Flags (2025 – ) collapses and blends symbols and signs to re-write nationalist global narrative and resist its oppressions.

Kingdom, 135 x 90 cm, acrylic on canvas, 2026

False Flags (2025 – ) collapses and blends symbols and signs to re-write nationalist global narrative and resist its oppressions.

Operation Absolute Resolve, 135 x 90 cm, acrylic on canvas, 2026

False Flags (2025 – ) collapses and blends symbols and signs to re-write nationalist global narrative and resist its oppressions.

Janus, 135 x 90 cm , acrylic on canvas, 2026

False Flags (2025 – ) collapses and blends symbols and signs to re-write nationalist global narrative and resist its oppressions.

Analog, 135 x 90 cm, acrylic on canvas, 2025 – 6

False Flags (2025 – ) collapses and blends symbols and signs to re-write nationalist global narrative and resist its oppressions.

False Flag, 135 x 90 cm, 2025, acrylic on canvas

False Flags (2025 – ) collapses and blends symbols and signs to re-write nationalist global narrative and resist its oppressions.

Bundeskraft
135 x 90 cm
acrylic on felt
2024

Symbiotic Systems

My painting, performance, and interventions are attempts to examine the inequities of organic and manufactured environments and my complicit role in their function. I am fascinated by the mutable and symbiotic systems of body, nature, and technology, which I represent through imagery such as morphing cells and circuits. These forms exist between the mechanical and organic, performing and re-writing symbolic orders as they blur the boundaries between natural and constructed systems.

At the core of this work is the idea of navigating the labyrinth—finding ways of sensing a greater whole and growing within it while following a singular path. This concept extends to how cities develop, shaped by the interplay between nature and technology. In Dakar, this starts with the Baobab tree and the Pèc that surrounds it –a center of social, spiritual, and commercial activity. In Berlin, like most contemporary cities, this has been replaced by a decentralized grid, arranged primarily for efficiency and individual autonomy. These contrasting urban logics reveal different relationships between community, environment, and infrastructure.

My process engages these differences materially and publicly. Paintings are dragged through the streets of both cities, accumulating the dust, dirt, and traces of each environment. They are washed in local waters—the Atlantic in Dakar, the lakes in Berlin. Hung in public, the works provoke conversations with passersby, breaking down the barriers between art and everyday life. Through these actions, the paintings accrue material and history, becoming documents of the cities themselves while questioning how society functions with and against nature.

Exploded View
132 × 84 cm
acrylic on felt
2024

Exploded View

Dakar, SN, 2024

Exploded View (still from video)

Escape Velocity
acrylic on felt
135 x 90 cm
2024

Escape Velocity

painting interviews, Berlin

DAKAR
130 x 84 cm
sand, dirt, acrylic, salt on felt
2024

Ghost Washing

Architecture, Immateriality, Painting WIP in convo, Dakar, May 2024

Dakar in Mpls

Mbeubeuss OBE
acrylic and sand on felt
84 × 130 cm
2023 - 2024

Mbeubeuss OBE

Performance Chez-Toi Design, Partcours 12, Dakar, Senegal
December 8, 2023

Babacar’s Cart

Pèc re edit lg

In Senegal, the Pec is a communal, sacred space that grows around the Baobab tree. The increasing rarity of this in the city is discussed with art as a possible integration of technology and nature to create a similar space. Nov, 2023