Love is Horror

My work navigates the tension between dissociation and immersion, reflecting my complex relationship with technology and the digital world—specifically, photos from my phone. I often feel as though part of my mind has merged with the internet, where my thoughts and creativity are intertwined with the algorithm. This digital attachment has become a way to escape—a place where I can process the world without fully engaging with it.

At the same time, I seek moments of true presence through painting, whether it’s capturing the essence of a person or immersing myself in landscapes. These practices ground me in the here and now, offering a deeper connection to the natural world and a counterbalance to the disconnection of my online existence. My art is a dialogue between these two worlds—a dance between escaping into the digital and embracing the tactile, searching for a truer understanding of self and nature.

This connection between immersion and dissociation—romanticizing both but also rejecting them—reflects the contradictions of feelings and emotions in general. The push and pull of wanting to be and not to be in reality. I use this parallel play between two states of being to confront two other ideologies: Love and Horror. Love, in contemporary society, often carries a negative connotation—something naive, commodified, or restrained by formality. Horror, on the other hand, is accepted, even normalized, despite its violence and fear.

By intertwining these contradictions, my work examines the way we process desire and detachment, tenderness and terror. Love, in its rawest form, can be as unsettling as horror. Horror, in its depths, can be as intimate as love. These ideas coexist in tension, reflecting the ways we navigate presence, absence, and the blurred space in between.