This painting was meant to criticize the idea of the American Dream. It serves as a message to immigrants: what you're driving into isn't a simple two way street. Once you enter, the only way out is at the end of the road. It's a social commentary shaped by my own personal experiences and perspective.
2022 - Acrylic, Marker, Spray paint
This part of the painting represents migration in progress, paired with an exaggerated reaction from those on the other side of the border. The phrase “Now kill them” is a deliberately extreme and overdramatized version of “Now get them,” meant to highlight the intensity of hostility and fear often directed at immigrants. It serves as a critique of how migrants are dehumanized and targeted simply for seeking a better life.
The middle of the painting highlights what many people admire about the United States: unity and strong infrastructure. It’s meant to represent the well-organized, structured environment that draws many immigrants in. For those fleeing decaying or unstable infrastructure in their home countries, this vision of order and opportunity becomes a powerful motivator for migration.
At the top of the painting, the title is displayed alongside objects that resemble eyes. These are, in fact, eyes meant to emphasize the constant need for vigilance. They represent the feeling of always being watched, a reality many immigrants face. One mistake, one arrest, can lead to deportation. The eyes serve as a visual reminder of the pressure to stay alert and cautious at all times.
N/A Figure
The N/A figure in this painting stretches from the top to the bottom, symbolizing the American life that many immigrants come to face, along with the broader struggles of living in the United States. The idea of building a new life here is often portrayed too optimistically. Before any achievements if they ever come many immigrants exist in a constant state of survival. There's no space to dream; the only thought is making it to the next day. The N/A figure embodies this emotional and physical reality. It has become a recurring subject in my work, representing the faceless, voiceless immigrant experience.