A Sunday Afternoon in the Park, 2022
Oil on linen
61 x 76 cm (24 x 30 in)

A Sunday Afternoon in the Park (2022) creates a conversation around utopic ideologies of control and function. It documents the current issues of today's experience of struggling to live and socialize normally as the COVID-19 virus spreads. Going through a list of news archives, the artist selects this image to paint, subtly capturing the day in the life of living in New York City during the pandemic. In a grid-like manner, a crowd of people sprawl across the park at equal distances, staying within their contained, geometric areas that have become familiar in urban spaces. In the center of the piece, a woman faces forward with a white mask covering her face. The painting reflects the inevitable urban methods that sustain order in the movement of everyday life.

Yoga Isolation, 2022
Oil on linen
91 x 102 cm (36 x 40 in)

Yoga Isolation (2022) interprets people participating in an outdoor yoga class during the Covid-19 pandemic. Shades are used to paint the image by extracting color, creating an otherworldly effect reminiscent of vintage science fiction posters. The painting reflects a world continuously affected by the pandemic, much like the characters depicted within it. Social situations have adapted to fit the new circumstances, gradually transforming how people live as they strive to return to their daily routines while maintaining physical distance from one another. This work captures the essence of resilience and adaptation in the face of ongoing global challenges.

Minneapolis, 2020
Oil on linen
27.9 x 35.6 cm (11 x 14 in)

Minneapolis explores a segment of the artist's journey through the COVID-19 pandemic and societal protests, capturing the dual surreal experiences of isolation and public outcry. On one side, there is the profound sense of isolation brought on by the pandemic, while on the other, there are people voicing their demands on the streets. The primal instinct to extinguish a fire has been replaced by the modern-day response to record it on a phone and upload it to social media. This shift highlights the intertwining of news and reality, and the blurred lines between the physical and digital worlds. These themes compelled the artist to create this work, reflecting on how technology and social media have transformed our reactions and interactions in the face of crises. Minneapolis delves into the complexities of contemporary existence, illustrating the chaos and confusion that define our current era. The painting serves as a commentary on the evolving nature of human responses and the impact of digital media on our perception of events and reality.

Bikini Atoll, 2020
Oil on linen
41 x 51 cm (16 x 20 inches）

On 1 July 1946, the United States conducted its first nuclear test after World War II. In the painting Bikini Atoll (2020), the mushroom cloud created by the explosion symbolizes the beginning of the atomic age. An explosion occurred at the lagoon of Bikini Atoll, located in the Marshall Islands in the Pacific Ocean. It was the first of 67 tests conducted in the atoll and the second U.S. nuclear test of more than a thousand that followed. Irradiation's consequences, however, were vastly underestimated. A number of protests erupted in the United States as a result of this - rallying public opinion for the first time against nuclear testing.

TRINITY TESTING, 2020
Oil on linen
In 7 parts, each: 28 x 36 cm (11 x 14 in)
Overall: 28 x 252 cm (11 x 98 in)

The loud event of Trinity testing in New Mexico in 1945 declared the advent of the “Atomic Age.” The nuclear bombs — variously cheered, detested, yearned for or abolished — has become a powerful image in the world. The artist explores this event in history in a series of paintings, 28 x 36 cm each, which appear delicate and dreamlike. The world order is constantly stabilized, disrupted and rearranged, yet does not grant anyone an exit. This series reminds us of this, recognizing the inherent vulnerabilities of the current world order, and how to live with these vulnerabilities or to challenge them. The nucleus represents the maximum central efficiency of a high-speed fission process that causes an explosion in one instant, as a result creating an infinite number of ethical, regulatory and environmental issues. 

Gulf of Mexico, 2021
Oil on linen
31 x 61 cm (12 x 24 in)

Gulf of Mexico (2021) depicts the bright flames, dubbed the “eye of fire,” that erupted from an underwater gas leak in the Gulf of Mexico on July 3, 2021. The leak caused a whirling fire vortex to spew out of the ocean west of Mexico’s Yucatán peninsula. It took more than five hours to extinguish the fire, although no injuries were reported. Gulf of Mexico was painted on the same day that the event took place. In today’s mediated society, the immediacy of this painting explores the web of mass communication, returning the medium of painting to its fundamental role in documenting the world. 

Eruption, 2022
Oil on linen
76 x 61 cm (30 x 24 in)

Hung Tonga-Hung Ha'apai, a submarine volcano located in the southern Pacific Ocean, began erupting on December 20th, 2021. Four weeks later, on January 15th, 2022, the enormous explosion recorded by modern instruments would reach its climax. The eruption mangled and caused significant damage to the undersea cables in its surrounding area, disconnecting Tonga’s communication from the rest of the world. Five weeks after Tonga's network was restored, Eruption (2022) was painted to replicate the satellite image of Hung Tonga-Hung Ha'apai. The painting documents the historical event from the perspective of the contemporary age as the everyday person watches the explosion through the media unfolding on their screen.

Philadelphia, 2020
Oil on linen
41 x 51 cm (16 x 20 in)

This painting expresses the dual journey through the COVID-19 pandemic and societal protests, capturing the surreal experience of isolation on one side and people voicing their demands in the streets on the other. Reality is depicted as being full of upside-down, disturbing, and anxiety-inducing elements, symbolized by the burning and overturned car in the foreground. The intertwining of what is news and what is real, what is physical and what is digital, are themes that compelled the creation of this work.

Containers, 2021
Oil on linen
76 x 91 cm (30 x 36 in）

Containers (2021) is a painting based on a photograph taken by the artist along a highway in New Jersey. As a result of the COVID-19 pandemic in 2021, global supply chains and shipments slowed, resulting in worldwide shortages and altering consumer patterns. COVID-19, mandates, and restrictions have all contributed to the economic slowdown. The lack of staffing caused goods to remain at the port in the cargo shipping industry. Global chip shortages have contributed to the supply chain crisis, especially in the automobile and electronic industries. The long-tail effects of the supply chain crisis are contributing to ongoing issues related to food security, including the 2022 food crisis.

Vision, 2020
Oil on linen
In 2 parts, each: 28 x 36 cm (11 x 14 in)
Overall: 28 x 72 cm (11 x 28 in)

Vision (2020) guides the viewer's attention to experience the focusing process of the human eye. The paintings are bordered in black with a circular viewing hole in the center, resembling not only the human eye but the perspective of a lense. The viewer is forced to observe the mechanics of looking and the various ways in which it is replicated through the machine. In the diptych, there are two focal points as the eye switches between looking at different objects in its range of perception.

Touch, 2022
Oil on linen
76 x 76 cm (30 x 30 in)

Isolation, 2020
Oil on linen
51 x 61 cm (20 x 24 in）

During the artist's time in New York City amid the COVID-19 pandemic, she witnessed the profound transformation of the cityscape. The painting Isolation (2020) depicts the construction of a temporary hospital at the Jacob K. Javits Convention Center in March 2020. Traditionally known for hosting events like the International Auto Show, Art Fair, Functional Fabric Fair, and Cannabis World Congress and Business Expo, the 840,000-square-foot facility was repurposed as a makeshift hospital in the battle against the devastating impact of the Coronavirus outbreak, especially felt in New York City.

Antimony, 2020
Oil on linen
41 x 51 cm (16 x 20 in)

In the 17th century, the two disciplines of alchemy and chemistry were studied together because of the lack of scientific discovery. Alchemists would correspond various metals with the planets in the sky. Newton had used a piece of impure antimony in his "alchemical furnace.” The radiant and shiny properties of the semimetal reminded him of the stars at night. He corresponded it to Regulus XIV (Regulus in English) in the constellation Leo and called it "Regulus XIV antimony.” Newton's manuscripts show that he spent much more time studying antimony than discovering gravity. Although Newton's "Regulus XIV antimony" did not bring him any alchemical results, it may have led Newton to think of the action of the super distance between objects. The element of antimony helped Newton open the door to modern physics. Antimony is a painting of the semimetal of the same name. Its properties are silvery, hard, brittle, and metallic in form. It is used in the electronics industry to make semiconductors, such as infrared detectors and diodes.

The splash of a drop 1, 2022
Oil on linen
In 6 parts, each: 28 x 36 cm (11 x 14 in)
Overall: 28 x 216 cm (11 x 84 in)

In the 1895 photographic series of the same title, Arthur Mason Worthington, an English physicist known for pioneering techniques in high-speed photography, studied the physics and aesthetics of a splashing drop. Bound into a book, the images depict a water droplet at different stages of its dissolution. Although the frontispiece shows three photographs of the splash, the photographic technology was not capable of accurately capturing more detailed stages of its descent. The rest of the images in the book resorted to drawing the droplet, as at that time, drawing was a more reliable form of documenting movement. The artist's painting revisits the period when painting as a documentary medium was newly challenged by the invention of photography. The advent of photography and its progression through history impacted how reality is understood. The splash of a drop 1 celebrates the handmade qualities of painting techniques, re-recording the process as a nostalgic expression in a time over-saturated with images. 

Thermal Imaging, 2022
Oil on linen
76 x 76 cm (30 x 30 in)

Thermal Imaging (2022) is a painting of a thermal imaging camera during the Covid pandemic at an airport security check. Two pedestrians in the center of the image wear masks, while on the bottom left, a color legend refers to a scale of temperatures. The “plus” sign on the image indicates an artificial intelligence system detecting each individual's body temperature. The colors in the image correspond to the legend, capturing a visual interpretation of heat that the human eye cannot see.