PROPAGANDA
Selected Works
PROPAGANDA AND SATIRE
​
In my work with postage-stamp–sized prints, I intentionally draw from the visual language of WWII-era German propaganda posters and stamps, not to glorify them, but to expose how powerful and insidious those aesthetics were. I’m interested in the way something as small and ordinary as a stamp can carry enormous ideological weight, so I recreate that style in a way that makes people look twice: the bold typography, the heroic poses, the stark contrasts. By pulling these elements into a contemporary art context, I’m forcing the viewer into an intimate confrontation with imagery that was once designed to persuade, manipulate, and normalize violence. My goal is to show how propaganda lives in the everyday, how easily the eye accepts it, and how we can reclaim that visual language to examine the mechanics of power rather than be shaped by it.
FREEDOM PASS
​
I created Freedom Pass as a satirical warning, an imagined document that merges the bureaucratic coldness of WWII-era travel papers with the branding, surveillance language, and corporate cheerfulness of today. By styling it after restrictive passports from Nazi Germany, I am amplifying the tension between historical authoritarianism and the modern systems we often accept without question. The inclusion of Coca-Cola, Braun, Chase, and other familiar logos is intentional because it shows how easily corporate culture can camouflage or normalize state control. In this piece, the future looks uncomfortably familiar, and I want viewers to feel that friction, since satire is most effective when it hits close to home. It won the Governor of Illinois Printmaking Award in 2005.