I make religious paintings for an age that denies the spirit.

As the prospects of war and chaos grow closer on the horizon, AI and Robotics threaten to redefine human endeavor, intimacy, and even consciousness itself. Some call this moment the 4th Turning. But in these days of tumult and fear, my work insists on re-centering the human being as a vessel for psyche, spirit, and ultimately meaning. My pictorial use of current and near-future technology acts a layered symbolic language within intense figurative paintings shaped by classical realism and the bloody devotion of Ribera, Zurbarán, Goya, and Caravaggio. The work inhabits a liminal world between the Baroque past and our uncertain future—not made within the contemporary zeitgeist, but about it.

As an early cyborg myself, I spent years in darkness, addiction, doubt, and severe chronic pain following multiple failed spine surgeries in my twenties. Now, with a quarter of my spinal joints replaced by titanium, a wife, a young son, and my life finally set upon a path of sincere purpose, I know grace is possible. That grace enters the paintings as a whisper of sorrow and redemption. Not horror or grotesquery, not pastiche or satire, but tragic longing pervades the paintings: a longing for beauty; a longing for continuity within a human past and tradition; a longing for true connection in an era of hyperconnected isolation; a longing for purpose within the deafening silence left behind by the Death of God.

My paintings are intense and unflinching. They depict the horror of what we are doing to ourselves and each other in the pursuit of progress and a perfect future. But in speaking these fearful possibilities into form, I aim to name the darkness in service of the light.