When people ask me to describe my work, I often pause. On the surface, it’s easy to say my pieces are bold, colorful, and geometric — but that word alone doesn’t capture the bigger picture. What I’m doing sits in a much longer conversation in art history.

A huge influence on me has always been Cézanne. He broke the world down into shapes — cylinders, spheres, cones — and in doing so, he helped set the stage for Cubism. Picasso and Braque took that even further, fragmenting forms into angular planes and reimagining how we see space and perspective. My work pulls directly from that lineage.

But I’m not just rehashing Cubism. I’m bringing those ideas forward, mixing geometric figuration with the culture that inspires me daily: sneakers, athletes, icons, brands, and moments that shape who we are today. You’ll see sharp angles, overlapping planes of color, and flattened space — but you’ll also see Michael Jordan mid-flight, a Porsche caught in motion, or the iconic Citgo sign in Boston.

Alongside those geometric foundations, my illustration background plays a role too. I’ve always loved the looseness of line work — at times gestural, almost scribbled — a quality that artists like Cy Twombly explored so beautifully. That energy often makes its way into my process, balancing the rigid structure of geometry with a more human, expressive touch.

If I had to place my work stylistically, I’d call it a mix of neo-Cubist portraiture, geometric figuration, and pop-infused modernism, informed by an illustrator’s hand. It lives at the intersection of fine art, design, and pop culture. It’s both a nod to Cézanne’s structural vision and a reflection of the world we live in right now.

For me, the goal is always the same: to create work that feels timeless in its craft but relevant in its subject matter — something that speaks to the history of art while staying rooted in today’s culture.

— Kyle