Ongoing Series:
Beyond The Boundaries
In “Beyond The Boundaries,” these paintings aim to explore places I’ve never been—yet through the act of painting, I bring them closer to me. This series reflects how my art goes beyond the mere physical distance between me and these locations, turning them into personal, emotional, and intellectual spaces.
I’ve lived in a small town my entire life. Very rarely do I ever get the chance to travel, but I’ve always been attracted to these far-off places. I have a lot of inherent curiosity about the unfamiliar and all the different cultures I’ve never had the chance to be exposed to in-person. I wanted to explore this in my art, and painting these cityscapes is a way of bringing these places and people closer to me; it allows me to engage with them personally despite being so far away.
MOST RECENT IN “Beyond The Boundaries”
Japan, acrylic on canvas, 40in x 30in, 2025
The idea of traveling, whether it be physically or imaginatively, is something deeply tied to my human and artistic experience. Painting these scenes where I get to inhabit the places I’ve never visited, allows me to become a part of them, seeing them from my own unique perspective, and sharing it with others. I love exploring cultures and people, and I’m only now starting to capture these feelings in my artwork.
I’ve only ever been to one Chinatown, and it’s in New York. I was only there for a single day--but I was immediately enchanted by the lanterns, lights, and people. It was exciting to have that level of deep exposure to the many cultures I don’t typically get to see. Given how I love color and saturated tones, it often carries a lot of emotion and psychological meanings, and Chinatown is rich with colors--the red, gold, and bright neon lights. It gave me a new palette to play with, both emotionally and creatively.
Chinatown, acrylic on canvas, 5ft x 4ft, 2024
Slice of Life, acrylic on canvas, 53.5 in x 38.5 in, 2024
Although I mentioned before that I want to paint places I’ve never visited—I decided to paint “Slice of Life” based around an image I took on my visit to New York, so my earlier statement isn’t entirely accurate in terms of this painting in particular—however, it holds true that I do plan to paint more places I’ve never visited. “Slice of Life” can be considered a precursor, a practice painting, to prepare for more paintings with similar subject matter.
This painting, along with “Chinatown” is my first step towards my growth as an artist—allowing myself to find more meaning in my abilities, my philosophies, and my future work.
“Beyond The Boundaries” suggests movement, discovery, and a journey into uncharted territories—not just in the literal sense, but in the sense of exploring new perspectives and emotional connections through my genre paintings. It implies that my works are an adventure in art, one that goes beyond simply representing a place and into the realm of understanding and connection.
“Slice of Life” allowed me to explore compositions and people, as I normally don’t paint human subjects. This painting increased my confidence and showed me that it was indeed possible for me, and that I should no longer be scared of exploring such subject matter. Painting people has always been a fear of mine—I now know that my worries are unfounded. It’s not impossible—and I rather enjoy it.
“Slice of Life” and “Chinatown” are the beginnings of this series, and building blocks towards a foundational portfolio I plan to explore further, not just to showcase my skills as an artist, but rather my philosophies, emotions, and desires.
"The Spirit of Nepal: Sadhu Men" a diptych, each painting is 12in x16in, acrylic on canvas, 2025
This painting captures the essence of the Sadhu men, revered figures in Nepali culture. Known for their deep spiritual devotion, Sadhus are ascetic hermits who dedicate their lives to meditation, self-discipline, and the pursuit of enlightenment. With their simple lives, often marked by vibrant clothing, sacred ash, and long beards, they embody peace and profound wisdom. In Nepal, they hold a sacred place in both Hindu and Buddhist traditions.
Sadhu men often wear orange (or saffron) robes due to the color's symbolic association with renunciation, purity, and the flame of spiritual knowledge, as well as its historical practicality as a readily available dye.
I focused on creating more vibrant oranges, yellows, and warm tones to emphasize these beliefs, and took creative liberties on the backgrounds, where I wanted to explore the heavy contrast of ultramarine against bright oranges. I also included teal tones in some areas to add a heavier contrast.
My goal was to capture personality through their expressions, colors, and culture, while also staying true to my own personal style.
Japan, acrylic on canvas, 40in x 30in, 2025
Like many others, I’ve personally been a victim of the “I need to visit Japan ASAP” disease, and it has greatly influenced my style in this piece.
Japan has experienced a surge in popularity as a travel destination in recent years, particularly since reopening to tourists in late 2022 after pandemic-related closures, and my algorithm has paid the price.
It’s not just the anime, but the culture and history that’s kept me enamored for the past few years. Being inspired by it created my own color palette version of “rose-tinted glasses.”
I’ve yet to actually visit, so for now, I’ll settle for a painting—a collage of lanterns, historical architecture, and tradition.
Unfortunately, while many visitors appreciate Japan’s culture, disrespectful tourism can often be an issue—such as ignoring local customs, making loud noise in quiet neighborhoods, or damaging historic sites. Being mindful, respectful, and learning about proper etiquette helps preserve these special places and shows appreciation for the culture that makes them unique.
Some inspiring themes highlighted in this piece are as follows:
Geisha, or geiko in Kyoto, are traditional female entertainers skilled in classical music, dance, and refined conversation. Though fewer in number today, they still exist in Kyoto’s historic geisha districts like Gion and Pontocho, preserving centuries-old cultural traditions through performances and hospitality that embody elegance and discipline.
Historical Japanese architecture is characterized by the use of natural materials like wood, paper, and bamboo, with an emphasis on simplicity, harmony, and functionality. Traditional buildings often feature sliding doors, tatami mats, tiled or thatched roofs, and wooden verandas that connect indoor and outdoor spaces.
Lanterns have been an important part of Japanese culture for centuries, used both for practical lighting and as decorative or symbolic elements. Made traditionally from paper or silk stretched over a wooden or bamboo frame, they are commonly seen during festivals, outside shops, and in temples or tea houses.
“Pepper Woman” 20in x 30in, acrylic on canvas, 2025