ARTWORKS
My art is a reflection of the tensions that exist within. Controversial, raw, grim, opinionated, my creations confront the inner rage, violence, and contradictions that co-exist inside of me and shape my perspective.
Drawing inspiration from the criminal underworld’s iconography and tattoo subculture, I blend elements of folklore, societal struggles, and diverse visual cultures into figurative works.
Regardless the medium, each piece is a visceral exploration of power, rebellion, and identity, daring the viewer to confront their own darkness.
False God
False God is an unsettling exploration of the complex relationship between crime, power, and the veneration of false gods, idols, and icons within the criminal underworld.
This serie delves into the spiritual landscapes of groups like Mexican cartels and Japanese gangsters, where figures of divinity, once symbols of protection or morality, are turned into objects of worship.
Through this imagery, False God interrogates the darker side of human spirituality,The connection between criminal underworld and their reverence for icons as false gods is deeply embedded in the culture of organized crime.
In Mexico, Santa Muerte is a complex and powerful figure deeply rooted in the culture. While her image may evoke fear or darkness, for her devotees, she is a compassionate, understanding force that transcends traditional religious boundaries. This folk saint is a protector of the marginalized—those who feel abandoned or misunderstood by society or institutional religions. She has a complex and often controversial place within the criminal underworld, particularly in Mexico and other parts of Latin America. While she is venerated by people from all walks of life, her association with criminal groups—such as drug cartels, gangs, and others involved in illicit activities—has given her a distinct reputation as a protector and guardian of those who operate outside the law.
In Japan, the intersection of traditional theater masks—especially those from Noh and Kabuki theater—and tattoo art within the criminal underworld, particularly among the Yakuza, is a striking example of how cultural symbols evolve and take on new meanings in different contexts. The connection between traditional Japanese theater masks and the criminal underworld lies in the transformative power these icons hold. For criminals, particularly within the Yakuza, the masks offer not just a link to Japan’s rich cultural heritage, but also a way to embody the emotions, values, and archetypes that define their lives. Through tattoos, these masks take on new meanings, blending theatrical symbolism with the gritty reality of a criminal existence, where strength, fear, protection, and inner turmoil are constantly at play.
The Hell Inside
The Hell Inside is a visceral exploration of the shadowed corners of human nature, where our rawest emotions, vulnerabilities, and darkest impulses reside. Through this series, I dive into the murky depths of the psyche, exposing the complex dualities that define us—strength and fragility, love and self loathing, creation and destruction.
In those pieces, the boundaries between light and darkness blur, symbolizing the constant internal struggle between our higher and shadow selves. This series invites viewers to dwell in the tension—to reflect on how our fears, insecurities, and desires shape not only our choices but also our very identities.
The Hell Inside speaks to the universality of suffering, from the quiet despair of loneliness to the consuming fire of rage, this series challenges us to acknowledge the darkness within and question how we navigate a world filled with temptation, fragility, and imperfection.
Ultimately, this body of work is not a condemnation of human nature, but a mirror to it. By embracing our shadows, we may find a deeper truth about what it means to be human.
