My work often talks about the idea of modern Boyhood. This idea of media as a religion. What happens when you praise superheroes more than you praise god?   Influenced by comics and cartoons in conjunction with a combat sport upbringing, my work highlights the tension that stems from learning the nuance of violence during childhood. While growing up, my life was defined by structure and regimen. I approach my artistic practice in the same way we are taught to honor our physical bodies in Taekwondo. This repetition within the practice of printmaking mirrors that of martial arts. Once I found screen printing, it was everything I wanted, fast, immediate, yet restated and exact. I tend to print using multiple layers because watching the different sections of the composition have friction between layers is the idea of color competing. Two images are trying to be seen, yet they also work in conjunction with each other. It was this balance fight within a print itself, but also had this camaraderie that I could not find in any other medium. Additionally, I never use registration pins; there is something comforting about the hands-on component. As the placement decisions you make as you develop the image, you make placement decisions. My lack of registration is a statement of complete trust between myself and my material, another moment of this friction. Having one chance to pull the image means I give myself little room for error, yet when there is theres almost this human quality to it. The idea of print itself being tactile and extensions of dissensions and of movement of the body is what I want the viewers to interact with when looking at my work.