CV
Contact
FERAL CHILD
Exhibition Date: 07/18/26-07/30/26
co-curated with Seung-Jun Lee
Exhibition Booklet
A tiger scratching at the walls of its cage. To perform
oneself; one’s sexuality, race, job title, gender, role in the
family. Identity not as fixed but a verb that is daily acted out,
reconstituted. These habitual performances etching deeper and
deeper grooves into our life paths.
Building up Surface; material processes as a channel to
moments of otherness. To become other. To phase shift. Physi-
cal record of the artist momentarily inhabiting an intense self.
The Mark as a union between artist and surface, a rela-
tionship older than politics, identity, and abstraction; the system
of symbols that alienate us from pure experience. To become
multiple, a pack, a swarm. To sidestep the complex of puppet
strings that define and atomize us into our individual selves.
Inspired by Deleuze and Guattari’s “Becoming Animal”,
FERAL CHILD presents a celebration of the grounded, the tex-
tural, the animalistic, the visceral, the mammalian.
Marks not traced in old channels but scratched out anew.
Opening night will be accompanied by
Austin Kim on Piano
Broom
In Collaboration with Stoma Collective
Valentine’s Show: “If He Paints Them 3 Paintings He Loves Them, If He Paints Them 300 Paintings He Loves Painting”
Exhibition Date: 2/14/2026
This show is composed of 214 paintings created over 7 months working at Paint N’Pour on Delancey Street, each painted during one 2 hour session in which I teach, step-by-step, 15-30 patrons who follow along. I wear a microphone with loudspeaker and entertain the room as they are served cocktails and food. I am given the images from a marketing team just before class begins and must figure out how to teach them on the spot. I view these as records of performance.
Each of these paintings is dedicated to my partner Asha. Not included are the paintings during which I was too tired or frustrated to write their name at the end of the class, or paintings which were thrown away by cleaning staff.
I am paid 35 dollars per hour, which amounts to 70 dollars per class. While tips vary wildly, on average I make about 20-50 dollars tip per class.
Thus each of these paintings represent about $110 of income. I have built a life from these paintings in New York, I am able to rent my room, as well a spot in this shared studio where the paintings are shown, to work on my own practice.
The job is tiring, and the turnover rate is high amongst wait staff, bartenders, and bussers, who I believe are not being paid enough. I find the business model to be cynical in its capture and funneling of the creative impulse of people toward sales of alcohol and food. I am frequently shocked at many peoples lack of literacy towards basic color mixing or confidence in their creativity (for instance, people often ask me if changing a color from the demonstration is allowed).
However I have also discovered many emergent, beautiful moments with students and in the paintings they have made throughout my time working there.
For many, this place represents a first encounter with painting since childhood. For some repeat customers, coming to Paint N’ Pour, paying 55 dollars for a 50 cent Blick student grade canvas, and some cheap sugary liquor is the entirety of their painting practice. I treat that encounter as something important, and take it as seriously as the setting allows. Every once in a while someone makes something that breaks through, and as someone who has studied painting, people make countless accidental Rothko’s, Pollock’s, and Matisse’s, with genuinely beautiful moments of color play, texture handling, and plain conceptual brilliance.
Le Salon Des Beaux Artes.
Exhibition Date: 12/13/2024
Group Show curated at Beaux and Winnie’s gallery/venue project, Double Dutch
Mirror Stage
Exhibition Date: 2023
Location: ECCO Contemporary Art Museum of Cádiz, Spain
Courtesy of FACC (Festival of Contemporary Art Cádiz)
e and Guattari’s “Becoming Animal”,
FERAL CHILD presents a celebration of the grounded, the tex-
tural, the animalistic, the vi