63 : 20 : 03 : 16
63 : 20 : 03 : 16
dream psycho: the styx
this is: dream psycho: the styx
i made it and dream psycho, in one creative session, back in february 2026. i think the humanity of art, is in the ones we're hesitant to share; the ones that feel like you're breaking off a piece of your being and placing it in the sun for scrutiny. frankly, i find those pieces to be more compelling than the 'lauded.'
i love collage work, because i've never felt whole. i've always felt like many bits and pieces stuck together. in constant conflict and coordination to seem whole. honestly, i would not want it any other way. the thing about dreams, which is why i anchored it in david's prose, is that it is not meant to mean anything; other than being subconscious flashes of your reality. nightmares can be draft of the most compelling works and daydreams the escape route out of a haunting reality—they are things without function, until we make them mean something. i think collages are the most low-level artistic approaches to representing that dichotomised understanding.
styx is one of five rivers in greek mythology. i knew from day one, that pt 2 needed a subtitle and choosing its namesake was hard until this one settled in my mind one random, unremarkable day. water and time has been motifs of this 3-part campaign; of passing through; of moving forward. that where we start, is not necessarily the road we're intended to stay on. as a child, i was certain i'd become a meteorologist. as a teen, a maritime lawyer felt like the best fit. now i do whatever allows me to share stories + the way forward. through art, through visuals and at times, through stats. the most dangerous bit of water is diving into it without a fair estimate of what is beneath it, the best part about water is being able to dive into it regardless—so dive.
the manifestos
the manifestos
the manifestos
dream psycho
‘I don’t want to be boring,’ that’s a thought I have all the time. I don’t want to wake up one day and look at my life and there are not enough moments where I had fun; where I did something stupid and it worked out; where I did it because I can and why not?
It is probably why I'm so magnetised to things unfamiliar to me—as though there is some experience that I am missing, and if I don’t experience it I would be ‘boring.’ It is not even peer pressure or an active desire to be presented in some way (though, I have moments of insecurity with my image). I don't want to be inherently inexperienced, because in my mind it’s like a disadvantage. Even though my innocence has been an advantage at times.
Sometime in February, I started to feel bored and confused. I started to feel disassociated and impersonal. I started to feel like an actor, always in character, always performing, always conforming to my environment. All that is fine and welcomed, but to lose sense of my creativity (the solid ground on which I stand on), that felt horrible—I started to think of the oven everyday.
I was on a heavier dose of melatonin to help with my lifelong sleeping issue. My dreams became brutal, gritty and comforting. It felt at times, that part of me bled into a realm that I could only briefly have. They reminded me of a book I read in January by David Wojnarowicz, ‘Memories That Smell Like Gasoline’, he wrote the term “dream psycho” and that named all that I had felt for so long. I’m ready to disintegrate into that—whatever the dream is—however it comes at me. I can’t live without it.
dream psycho
‘I don’t want to be boring,’ that’s a thought I have all the time. I don’t want to wake up one day and look at my life and there are not enough moments where I had fun; where I did something stupid and it worked out; where I did it because I can and why not?
It is probably why I'm so magnetised to things unfamiliar to me—as though there is some experience that I am missing, and if I don’t experience it I would be ‘boring.’ It is not even peer pressure or an active desire to be presented in some way (though, I have moments of insecurity with my image). I don't want to be inherently inexperienced, because in my mind it’s like a disadvantage. Even though my innocence has been an advantage at times.
Sometime in February, I started to feel bored and confused. I started to feel disassociated and impersonal. I started to feel like an actor, always in character, always performing, always conforming to my environment. All that is fine and welcomed, but to lose sense of my creativity (the solid ground on which I stand on), that felt horrible—I started to think of the oven everyday.
I was on a heavier dose of melatonin to help with my lifelong sleeping issue. My dreams became brutal, gritty and comforting. It felt at times, that part of me bled into a realm that I could only briefly have. They reminded me of a book I read in January by David Wojnarowicz, ‘Memories That Smell Like Gasoline’, he wrote the term “dream psycho” and that named all that I had felt for so long. I’m ready to disintegrate into that—whatever the dream is—however it comes at me. I can’t live without it.
dream psycho
‘I don’t want to be boring,’ that’s a thought I have all the time. I don’t want to wake up one day and look at my life and there are not enough moments where I had fun; where I did something stupid and it worked out; where I did it because I can and why not?
It is probably why I'm so magnetised to things unfamiliar to me—as though there is some experience that I am missing, and if I don’t experience it I would be ‘boring.’ It is not even peer pressure or an active desire to be presented in some way (though, I have moments of insecurity with my image). I don't want to be inherently inexperienced, because in my mind it’s like a disadvantage. Even though my innocence has been an advantage at times.
Sometime in February, I started to feel bored and confused. I started to feel disassociated and impersonal. I started to feel like an actor, always in character, always performing, always conforming to my environment. All that is fine and welcomed, but to lose sense of my creativity (the solid ground on which I stand on), that felt horrible—I started to think of the oven everyday.
I was on a heavier dose of melatonin to help with my lifelong sleeping issue. My dreams became brutal, gritty and comforting. It felt at times, that part of me bled into a realm that I could only briefly have. They reminded me of a book I read in January by David Wojnarowicz, ‘Memories That Smell Like Gasoline’, he wrote the term “dream psycho” and that named all that I had felt for so long. I’m ready to disintegrate into that—whatever the dream is—however it comes at me. I can’t live without it.
dream psycho: the styx
this is: dream psycho: the styx
i made it and dream psycho, in one creative session, back in february 2026. i think the humanity of art, is in the ones we're hesitant to share; the ones that feel like you're breaking off a piece of your being and placing it in the sun for scrutiny. frankly, i find those pieces to be more compelling than the 'lauded.'
i love collage work, because i've never felt whole. i've always felt like many bits and pieces stuck together. in constant conflict and coordination to seem whole. honestly, i would not want it any other way. the thing about dreams, which is why i anchored it in david's prose, is that it is not meant to mean anything; other than being subconscious flashes of your reality. nightmares can be draft of the most compelling works and daydreams the escape route out of a haunting reality—they are things without function, until we make them mean something. i think collages are the most low-level artistic approaches to representing that dichotomised understanding.
styx is one of five rivers in greek mythology. i knew from day one, that pt 2 needed a subtitle and choosing its namesake was hard until this one settled in my mind one random, unremarkable day. water and time has been motifs of this 3-part campaign; of passing through; of moving forward. that where we start, is not necessarily the road we're intended to stay on. as a child, i was certain i'd become a meteorologist. as a teen, a maritime lawyer felt like the best fit. now i do whatever allows me to share stories + the way forward. through art, through visuals and at times, through stats. the most dangerous bit of water is diving into it without a fair estimate of what is beneath it, the best part about water is being able to dive into it regardless—so dive.