Braintestines are visual metaphors for the human mind under siege by the glowing screen—both constant companion and tormentor. The series offers a sardonic reflection on the overpowering forces of digital media and their impact on psychological and physical states. In an era of miscommunication, cross-communication, and severed communication, society is tasked with parsing an overload of data that ranges from important to irrelevant, entertaining to grotesque, truthful to deceptive. The result is a collective sickness of thought.

Through hybrid forms—part brain, part intestine—the paintings depict cognition as a bodily process choked by excessive consumption, excreting technological waste and discarded ideas. The imagery addresses the colonization of emotions by misinformation and the influence of mediated content on belief systems and trust.

Influenced by the abject art movement of the 1990s, the work draws on the psychology of attraction to the grotesque, compelling confrontation with disasters, violence, and the digital wreckage of contemporary consciousness. Sensual color is paired with tactile silicone surfaces to create metaphors of excess and expulsion, embodying internal and external human conflicts.

Braintestines has evolved beyond painting to incorporate sound, video, and motion graphics, mirroring the world’s continuous sensory assault. The compositions demand attention as digital media does—glowing, pulsing, and overwhelming—provoking unease and reflection. At its core, the series investigates the interplay between communication, movement, and existence, revealing how screen-based culture has rewired both the body and faith in truth itself.