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In 2025, I received a mini-grant from the Mississippi Arts Commission to buy materials for a year-long project, in which I collaborated with a local drag performance artist Isaac Jones, known widely by his drag queen persona “Vivica Vanity.” Over the course of about ten months, I made four giant paper doll puppets of Vivica showcasing what Isaac and I considered to be her four most iconic outfits. Each puppet stood at just under 7 feet tall, and was suspended in the air for one day with fishing line above the stage at the 2026 Punker Decker Flea Market, intensely gazing (or maniacally grinning) down at the audience beneath them. Viewers were encouraged to interact with the puppets, pulling the strings to make her many hands wave up and down, like she could be dancing.One of the puppets wore a monotype printed version of an outfit that Isaac and I made together, and it was debuted later that night when he performed to "Bulls in the Bronx" by Pierce the Veil. I designed and screenprinted the floral pattern on the fabric of the outfit, which was meant to reference the visual motifs found on 17th century Delftware, a well-known ceramic aesthetic popularized by the importation of Chinese ceramics to Europe by the Dutch Easy India Trading Company. Isaac found the pattern, cut the pieces and sewed it all together to create a flowing garment befitting a high femme fantasy dutchess.It’s hard to categorize what this project was. Pop-up printmaking installation? Costume design collaboration? Punk puppet show? In the spirit of Queer identity and celebration, maybe it’s best that I don’t try to define it. My goal was to literally elevate the imagination and hard work of my dear friend, who has contributed so much to the culture of our shared Queer community that it's hard to express my gratitude for his willingness to let me get my inky hands all over it. I wanted the persona of Vivica Vanity to be the most imposing thing in the room because to me, she wonderfully represents us Queer folks of Mississippi, in all our weird and beautiful and terrible pride, and I was so ecstatic to see her come to life in this wild mix of printmaking, puppetry and performance.You can find more of Isaac's drag performances on his instagram.

In my latest body of work, I've been dissecting and then splicing together found imagery from different historical contexts through a combination of digital and traditional printmaking and collage techniques.Drawing upon the both the maximalist sensibilities early 20th century graphic design, as well as the pixelated visuals of early video games, I find that working back and forth between these pre- and post-digital aesthetic realms begins to transcend the nostalgic trappings
of their respective mediums.For me, the stories that unfold from this new visual lexicon alchemize into new, surreal narratives referencing working class identity, historic allegory, and absurdist humor in the face of a rapidly changing contemporary culture.

In the summer of 2023, I collaborated with artists and fellow University of Mississippi Alumni Amy Webb, Jonathan Kent Adams, and Zachary Fields to organize We’ve Always Been Here, a multimedia group exhibition drawing upon the shared experiences between us of LGBTQ+ artists based in Mississippi. Though the work on display showcased variety of subject matter depicted in a broad range of paintings, prints, and drawings; a dialogue concerning haunted places, hidden identities, and quiet joy emerged in the space shared by these bodies of work.My contribution to the exhibition, Glimpses of the Erebus, was created in reflection of the existential ponderings I often have about being Queer in a location that frequently expresses hostility towards genderqueer and nonconforming identities.

In this body of work, I sought to explore ideas about mythic narratives, and the parallels between non-Euclidean space and nonlinear storytelling.

This is a series of mixed media drawings I made starting in March of 2020. Wrestling with the worldwide anxieties brought upon by the COVID-19 pandemic, I was fixated on themes of claustrophobia, existential threats, and different narrative archetypes embodied by a variety of animal and object characters.

The Ballad of the Witch Doctor is an ongoing self-published webcomic reinterpreting the tale of Faust in a fantasy world ravaged by a magical plague. It explores themes of healthcare politics, Queer identity and relationships, religious propaganda, and human hubris; and references imagery from 14th and 19th century European art, illustration and design.Though it is primarily presented digitally for ease of accessibility, the comic utilizes a wide variety of mixed media elements, including photocollage, relief printmaking, pen & ink drawings, digital painting, and scans of found objects. While there is also a print version in the works, the webcomic is free to read, and can be viewed on any desktop, phone or tablet.

• Read The Comic!

"Trench Dogs" is an animated short film created by Australia-based artist and animator Saint Greaver as a follow-up to ERSATZ, a 22-minute surreal horror indie animated pilot set in an endless war. The visual language of ERSATZ, and by extension "Trench Dogs," draws upon a wide variety of imagery from different wars throughout the centuries, but is most noticeably influenced by the aesthetics of World War I.To make these illustrations feel authentic to the time period, I focused my research on primary sources of visual media from the 1910s, studying everything from the typography used in early war propaganda films, to the sketches in soldiers' journals of life in the trenches on the Western front. My goal was to recreate the texture, age, and materiality of those sources as closely as possible, while also maintaining the idiosyncrasies of my own illustrative style.You can view more of Saint Greaver's work on their instagram and their youtube channel.

GENESIS is a project spearheaded by Elena & Olivia Cabellos to create a 2-5 minute proof of concept animation for a future feature film of the same title. With a distinct, painterly style, the Cabellos sisters seek to bring a more mature, artistic reverence to biblical stories that are often flattened into children's cartoons.In redesigning their logo, I took an approach that began with drawing influence from ancient writing systems like Cuneiform, and combining those motifs with modern-day graphic design sensibilities. The result is a logo that references the ancient world while still feeling sleek, sophisticated, and versatile.

Since 2016, the town of Oxford, Mississippi has hosted its own Pride Week event near the end of April so that the Queer community can celebrate one another before the University students go home for the summer.In 2024, I organized the "Printing with Pride" booth, a print-on-demand booth at the Pride on the Plaza event in which anyone could come and pull a print from a portable showcard press in colors of their choosing. The woodblock print features a unicorn referencing the famous "Unicorn in Captivity" tapestry from the late 1400s, an image I thought fitting of that year's theme of "Renaissance." With the help of a few students and friends, we raised around $1200 from the booth to donate to a local charity of the students' choosing.The following year, I was asked to design the graphics, posters, and hand-printed t-shirts for Oxford Pride Week. Responding to the feature film debut of Wicked, I incorporated 1920s and 30s Art Deco motifs, and a pointedly pink and green color scheme throughout all of the merchandise and branding. Through the sale of shirts and posters at the "Printing with Pride" booth, participating students and community members helped to raise around $3000, more than twice as much as the year before, which was donated to the CHOICES Center for Reproductive Health in Memphis, TN.

In 2024, I designed, illustrated, and printed a Risograph poster-zine of the Mississippi General Election Calendar.Mississippi has some of the least accessible voting requirements in the United States, and the information itself is hard to come by unless one actively seeks it out. My hope was that by making a visually appealing version of the calendar in both a digital and analog format, that election information would find its way to voters around the state more easily, and it would be more memorable when placed next to eye-catching graphics.The edition of around 300 poster-zines was printed in layers of yellow, flourescent pink, teal, and black. After printing them, I distributed them (in both zine and poster form) to libraries, businesses, venues, and other public places in my area within about a 20-mile radius, and mailed stacks of them to friends farther away in the state who did their own distributions.