Puncture

William Campbell Gallery

February 14 – March 14, 2026

217 FOCH STREET FORT WORTH, TEXAS 76107 

Chicago Transit Authority Public Art Project 2025. Berwyn L Train Entrance Red Line: Edgewater Melange East and West, Smalti, Handmade Glass and Ceramic

Portrait of a Drip, 2025, , 29″ x 41″ enamel on metal, 

Zolla Lieberman Gallery. Exhibiting now until December 23 2023

The exhibition contains a variety of forms such as drawing, painting, and sculpture that are connected through craft, references to the body, as well as stories from personal histories and memories. Experiences of reverence, love, shame, fear, trauma and struggle inform each piece with its own story to create defiantly flamboyant forms or gestures.

The title of the exhibition uses the word backroom since the show is literally in the back gallery room. I was also thinking how the backroom can be used as a secondary space or a room to place things out of sight. Certain gay bars have a backroom. This room, a place where intimate exchanges occur provoking both pleasure and fear, also represents a taboo.

The drawings in the show are part of a project of memorializing figures of individuals who were on the margins. A black drag performer and a Latino porn worker. Many of the subjects for the series died of AIDS related complications. They are done in non-photo blue pencil. This is a nod to my previous life as a graphic artist while also symbolizing the vanished. 

The cast of the mirror ball hanging between the drawings are titled After Hours. It is painted as the same wall color it is hanging on. It is meant to appear merging with the wall with only a crescent shape of silver leaf referring to both the mirrors that once covered the ball and the waxing moon. The celestial and the sublime are recurring themes of my art.

The Speedbag (Caciones di Mi Padre) series are inspired by my father who was a professional boxing coach. It was both a vocation and an avocation he practiced in his youth with his brothers as a form of self-defense. The allusion to violence is inherent to the object as it is used to train for fighting. However, the speedbag board is also intended to hang vertically therefore making the function of the speedbag nonfunctional for training and perhaps erotic. This gesture references masculinity, queerness as well as to the subversion of masculine tropes. The cut forms on the boards reference the following series of work.

The purple walls contain examples of my madera picado series. The cut wood referring to the Mexican cut paper banners for celebration. The new pieces embrace new painting motifs that are combined with cultural and historical references that creates a surface where craft and cultural hierarchy exist on the same field, and interrupts perceptions of value and cultural inequality. A stand-alone piece is Aveolar. The content is about trauma to the body with an imprint-like image of a garden. The garden that nourishes the mind and body. The metal and suggested body organ shape alludes to Milagros, the Mexican metal charms for healing.

The largest piece, Flush Punch, is constructed through the reverence of painting. Random elements such as painted domestic motifs are combined with slick images that suggest the floral or the interior body. The title comes from names we give color as well as to the boxing gesture of punching. The painting here punches with color and glittering exuberance.

Photo-transfers, oil paint, resin and sequins on panel