I treat painting as a quiet platform for discussion. I see it as an object, though living in a place of discontent where it does not fit, it rests in space. I have collected pictures throughout the years, passed down from family members, Internet-crowdsourced stills, structural renderings that I have never seen in person, all with a common denominator: awkwardness. When composing a painting, the skeleton builds itself through the bombardment of these visual stimulants. The practice questions the clash of all this mixture and reveals the problem of a now-hybrid society.