I make work that sits inside a larger question: when it comes to Portugal and the world's old, beautiful legacy cities, where is the line between the culture being lived and the culture being sold?

 This year in 2026 I’m using the Mona Lisa to paint a delicate global meltdown spanning the past 500 years since the peak of Humanism in Firenze to the rivers of the Tropical South USA.

In Portugal, I’ve been practicing the Coimbra guitar and developing a hand-cut silhouette animation practice. I tell the snail that he is not slow, it is the world that has sped up.