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10/09/2026
A little more on the shoulder bags and where they began.
Inspired by MAIJHÍN, my 2024 collaboration with designer Phuong Mai, these pieces grew from playful experiments with painting, fashion, and the body.
Soft, organic lines emerged from my sketchbooks through automatism, exploring femininity, the beauty of Venus, and the memories we carry.
Each bag became a small moving artwork, somewhere between a painting and a personal object.
What started as an experiment eventually grew into a larger project and exhibition. All the bags have since found new homes, including one in Paris with my friend pictured here.
I love the thought of art continuing its story through the people who carry it.
10/06/2026
The shoulder bags origin traces back to MAIJHÍN, my 2024 collaboration with designer Phuong Mai, where painting, fashion, and the body began moving together. Afterward, I continued drawing from the instinctive language of my sketchbooks: soft, organic lines formed through automatism, allowing figures and symbols to surface before they could be fully explained.
I began thinking about the purse differently. An object associated with femininity, beauty, intimacy, and possession, but also something we carry close to the body. Like Venus, beauty becomes less of a fixed image and more of a recurring gesture: a curve, a figure, a memory, a trace.
The bags became small moving archives, carrying the same questions of memory, repetition, subconscious imagery, and translation that move through my paintings.
What began for fun eventually grew into a larger project and exhibition. Every bag found a home. One traveled to Paris with the friend pictured here, allowing the work to continue its life beyond my hands.
Perhaps that is what I love most about making objects: the work leaves the studio, meets another body, and gathers another history.
Introducing painted garments from an ongoing exploration of creative automatism, memory, and transformation.
Each piece is built through layers. Paint, linework, recurring symbols, figures, and gestures accumulate across the surface, carrying traces of both my painting and sketchbook practices.
The imagery develops intuitively rather than from a predetermined composition. Through automatism, familiar motifs reappear, disappear, and transform, creating a visual language shaped by subconscious thought, personal ideologies, memory, and repetition.
What would normally remain as a historical layer within a painting is carried onto the body. Earlier marks remain visible beneath newer ones, allowing each garment to hold evidence of its own making.
Part painting, part archive, part clothing.
These are wearable works made to continue changing through movement, use, and the person who carries them into the world.
Art doesn’t always have to stay on the wall.
Which piece would you wear?
Life lately🌀
I arrived in the coldest winter in Berlin in decades, I spent time in a beautiful quiet villa right outside the city and had time to get in tune with my creative desire. Through the transition of winter and spring, I built a body of work that was presented in March 2026. These works are much more abstract and expressive than my typical finished works, which for me signalled my bodys necessary return to art.
Layers. Scratches. Traces. My paintings remember everything.
Final question from :
"Layered surfaces, traces, almost like graffiti — your paintings feel like urban archives. What role does materiality play in how your stories unfold?"
The surface is the story. Not just the image.
Part 6/6 — full series complete.
Explore everything → Jhinonline.cargo.site
Berlin material art
Some paintings happen to me. Not from me.
asks:
"You speak of painting as a negotiation between the conscious and the subconscious. Are there moments when the work leads you, rather than the other way around?"
Part 5/6 — this one surprised even me.
Full practice → Jhinonline.cargo.site
Berlin subconscious studio
You can love something and still see its fractures.
Question 4/6 from :
"Your exhibition moves between affection for and critique of the United States. How do you navigate this inner tension in your practice?"
I don't resolve it. I paint inside it.
Part 4/6 → watch the full answer
All work → Jhinonline.cargo.site
⚖️ Berlin x US art dialogue
asks:
"Recurring figures, coded texts, and archetypal symbols appear throughout your work. What does repetition do for you — does it clarify, intensify, or unsettle meaning?"
Yes.
Part 3/6 → link in bio / watch now
Works → Jhinonline.cargo.site
March exhibition 2026, Berlin
Had fun meeting with some familiar faces and some new ones, the appreciation for art was felt
Lovely conver with Connaisseurs and Creatives,
Excited to curate more events for April, see you soon :)
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4120 Manchester Avenue
St. Louis, MO
63110
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