Every Pop Artist works with imagery that already exists — we’re inspired by cartoons, advertisements, and cultural icons. But the difference between inspiration and imitation is critical. For me, originality isn’t about inventing something from nothing; it’s about how you reinterpret what already exists.
When I look at the pieces I create in theDeconstructed Collection or the Stimsons Collection, you’ll see that familiar forms are taken apart and rebuilt with intention. I break them down visually, reorganizing shapes, colors, and forms to create something that feels entirely new — yet still recognizable. That’s the art of deconstruction.
Copying kills creativity because it silences the unique voice of the artist. If you simply replicate, you miss the opportunity to challenge yourself, to question the original image, and to explore what meaning it can take on in your hands. True originality comes from risk — from pushing a concept past the obvious and into something personal.
In Pop Art, much of the material we draw from is already captured in the world. The power lies in how we transform it. By deconstructing and reconstructing familiar imagery, I create space for interpretation, emotion, and commentary. My pieces invite viewers to see what they thought they knew in a new light — a fractured reflection that challenges the eye and mind.
This approach has a long history in Pop Art. Artists like Andy Warhol transformed everyday objects into cultural commentary by reproducing them with subtle shifts in scale, color, and context. I follow that same philosophy, but with my own lens — combining precision, narrative, and controlled fragmentation.
Originality isn’t about avoiding influence; it’s about how you own it, reshape it, and make it yours. Every collection I release — from The System and The Self to the Deconstructed Collection — carries this ethos. The goal isn’t just to make art; it’s to make art that could only exist through my perspective.
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