Client: The New Yorker
AD: Neeta Patel
For the TV Spotlight under the Goings On About Town section of The New Yorker.
Client: The New Yorker
AD: Rose Wong, Aviva Michaelov
The novelist has regularly exploded our models of genre and identity. In “The Trees,” he’s raising the stakes, confronting America’s legacy of lynching in a mystery at once hilarious and horrifying.
Client: Nike
CD: Brian Bantog
For Nike’s new Coaching platform, on a piece about muscle memory.
Your brain can’t always retain certain info, like your credit-card number (likely a good thing) or what happened to your sunglasses (check the top of your head). But you can probably still remember how to ski after years of not hitting the slopes, or how to do a cartwheel even though you haven’t done gymnastics since you were a kid.
Client: Entertainment Weekly
CD: Chuck Kerr
For the EW September 2021 Must List, on how Scenes from a Marriage took actors Oscar Isaac and Jessica Chastain “to hell and back.”
Scenes from a Marriage is an adaptation of Ingar Bergmann's 1973 Swedish TV miniseries about a marriage falling apart.
Client: The New Yorker
AD: Aviva Michaelov
After he killed two people in Kenosha, opportunists turned his case into a polarizing spectacle.
Client: WIRED
AD: Elena Lacey
Remote technology could save lives by monitoring health from home or outside the hospital. It could also push patients and health care providers further apart.
Poster for See You Then, an independent feature film premiering at SXSW.
A decade after abruptly breaking up with Naomi, Kris invites her to dinner to catch-up on their complicated lives, relationships, and Kris' transition.
Client: Penguin Classics
AD: Colin Webber
In a new English translation, Blind Owl is for readers who enjoy the fever dream of Raskolnikov in Crime and Punishment and the disorienting, psychologically charged tales of Kafka and Poe. Published 85 years ago by one of the greatest Iranian writers of the twentieth century, Blind Owl tells a story of an isolated narrator with a fragile relationship with time and reality. In part one, in a haze fueled by opium and alcohol, the narrator paints the exact same scene over and over again. In the next one-page scene he is covered in blood and waits for the police to arrest him. The final part gives readers a glimpse into the grim realities that unlock the mysteries of the first part. Our translator recommends rereading part one, because, well, it’s just more disturbing that way. With a long history of being banned in Iran, and surrounded by a cult superstition similar to The Ring, Blind Owl is arguably the most famous twentieth century Persian novel and ready to read in time for the Halloween season.
Client: The New York Times
AD: Jaspal Riyait
For a piece in the Well section on the inevitability of grief and in being prepared to face it.
Client: Salaam Reads (an imprint at Simon & Schuster Books for Young Readers)
AD: Sarah Creech
“They Wish They Were Us” meets “The Queen’s Gambit” in the world of competitive Scrabble when a teen girl is forced to investigate the mysterious death of her best friend a year after the fact when her Instagram comes back to life with cryptic posts and messages.
Client: Emergence Magazine
AD: Hannah Merriman
Hala Alyan reluctantly steps into the realm of fear, exploring its manifestations, the hold it can have over us, and practices of surrender.
Client: Eight by Eight Magazine for Apple News+
AD: Robert Priest
As Euro 2020 ushers us into a new era in world football, here are the game changers who’ll rise to the next level.
Client: National Geographic
AD: Nicole Thompson
For a piece about how we should reconsider referring to recent disasters as “natural,” as man-made climate change exacerbates these disasters.
Client: Entertainment Weekly
AD: Faith Stafford
Is Shadow and Bone the best fantasy show since GoT? According to our writer it just might be. Either way this months Must List #1 is "a complex yet propulsive mix of war, romance, politics, magic, pistols, and furry hats." There's also a magical stag. We're sold. Seen here is the series protagonist Alina Starkov, an orphan who discovers she has extraordinary powers that could change the future of her country.
Client: TED
AD: Sarah Jane Sanders
Many of us think we know what racism looks like — and who the racists are, what parts of the country they live in, the terrible things they think and do.
And conveniently enough, it’s never us. It’s always them.
Acrylic, graphite, and colored pencil on paper mounted onto panel. 12” x 16”
Personal work for a three-person exhibition at Nucleus Portland with Shoko Ishida and Kristina Collantes, January 2019.
The series was inspired by gender politics surrounding long, straight Asian hair, but has grown additional meaning in the wake of anti-Asian racism, violence, and hate crimes.
Client: The New York Times; Disability Series
AD: Jim Datz
For a story written by C.S. Gilcombe, a man who lost an arm at an early age, and came to understand his disability in the context of an "inconvenience" rather than a debilitating quality—similar to how his parents framed his racial status and to how he relates to his prosthetic, now. He's an avid cyclist, and the story alludes to this frequently.
+Recognized in Communication Arts 61 and Society of Illustrators 62
Client: NPR
AD: Emily Bogle
Producer: Liana Simstrom
Cover illustration for the first episode of the sixth season of NPR’s Invisibilia podcast.
An unlikely team of technologists and biologists are tackling climate change with an out-of-the-box tactic: using machine learning and AI to try to translate animal communications into human language.
Society of Illustrators 63 Gold Medal
Client: The Washington Post
AD: Tyler Remmel
An autobiographical contribution accompanied by an interview for a project focusing on ten illustrator’s experiences as the U.S. grappled with 100,000 lives lost to covid-19.
For us, the pandemic’s reverberations started to become a harsh reality when the release date of Fast and the Furious 9 was pushed back a year. It wasn’t just any movie for us, it was going to be her first film credit. Having this credit pushed back (along with many others) didn’t just mean we couldn’t celebrate her Hollywood dreams finally becoming a reality. It meant her losing her ability to use that experience when applying for one of the work visas—which had a more unforgiving, concrete timeline requiring hard-edge documentation. From the lens of the visa application, months of work had just evaporated. To add to this, filming live-action movies had been put on pause across the entire film industry. Her job security has eroded, as well as her confidence in being able to obtain such a visa, all this while anti-Asian racism is on the rise.
She tells me that even though things are rocky for her right now, she thinks others have it worse. Many of her friends are in a similar boat, and not everyone is so lucky. Just a few weeks ago, she already had to say goodbye to one, as their job hunting had become impossible once the hiring freezes started. This had put an end to their OPT requirements. And while Immigration Offices are closed, their deadlines haven’t moved an inch. Goodbyes are usually difficult to begin with, but a goodbye in the age of social distancing is something else.
Client: Vanguard
Agency: T Brand at The New York Times
Online ad campaign on the NYT platforms to promote how the investment company, Vanguard, cam help during a time of financial and economic instability.
Client: The New Yorker
AD: Sebit Min
(Killed project) A book review illustration for a title on documentaries and their historic influence.
Client: The New York Times Magazine
AD: Annie Jen
It was a fraught, utterly uncharted presidential transition — four years ago, from Obama to Trump. It was a prelude for so much that followed.
Client: Believer Magazine
AD: Kristen Radtke
One of several illustrations for the Borders Issue of Believer Magazine (October / November 2019).
Borders may predate the existence of states, but our bodies are older than either. And as borders have grown to occupy more space and have shapeshifted to take on increasingly personal and personalized forms—as smart-city surveillance, as predictive policing technologies, as mountainous databases of biometric info—so, too, have the wounds they leave behind.
+Recognized in ADC 99, Society of Illustrators 62, and Spectrum Fantastic Art 27
Client: The New York Times
AD: Jim Datz
Even in a crisis, doctors should not abandon the principle of nondiscrimination.
For a piece in the NYT’s Disability Series about the ethical considerations that the medical profession needs to make during a time of crisis and equipment shortage, such as the coronavirus pandemic, and how this puts disabled people at a much higher risk of being left behind, or discriminated against, when in need of treatment.
Client: The New Yorker
Creative Director: Nicholas Blechman
Animation: In-house; The New Yorker
Illustration for The New Yorker's "Right Question Changes Everything" ad campaign as part of their ninety-fifth anniversary. It's an advertising campaign that celebrates some of the magazine’s most important and engaging writing where they've plumbed the archive for stories that exemplify the theme of the campaign: “The Right Question Changes Everything.”
This campaign features stories that take on complex, essential, and surprising questions. Questions that reframe and change the world around us. These questions have offered new perspectives and ideas on everything from technology to culture and have led to some of our most memorable and significant work.
Client: TED
AD: Sarah Jane Souther
A piece by a writer who draws on the experiences of people that he’s met, revealing how violent movements target the most vulnerable and exploit their human desires and how the right interventions can save lives.
Client: The New York Times
AD: Nicholas Konrad
Client: The New Yorker
AD: Aviva Michaelov
Sharon Stern devoted herself to Butoh. Did her mentor lead her down a dangerous path?
A feature illustration for a piece on the unraveling of the dancer, Sharon Stern, as she devoted herself to Butoh, a form of Japanese dance theatre that explores one’s hidden darkness. Ultimately, she lost her sense of self, fell into despair, and committed suicide. Her family has since accused her instructor, Katsura Kan, of being a cult-leader responsible for her death.
Client: NPR
AD: Emily Bogle
Producer: Liana Simstrom
Cover illustration for the sixth episode of the sixth season of NPR’s Invisibilia podcast.
Bernie Krause was a successful musician as a young man, playing with rock stars like Jim Morrison and George Harrison in the 1960s and '70s. But then one day, Bernie heard a sound unlike anything he'd ever encountered and it completely overtook his life. He quit the music business to pursue it and has spent the last 50 years following it all over the earth. And what he's heard raises this question: what can we learn about ourselves and the world around us if we quiet down and listen?
Client: O, The Oprah Magazine
AD: Jill Armus
An illustration to accompany the book review of Speaking of Summer by Kalisha Buckhanon.
The book tells the story of how Autumn’s twin sister, Summer, goes missing when she walks up to the roof of their Harlem brownstone. Faced with authorities indifferent to another missing woman, Autumn must pursue answers on her own, all this while grieving her mom’s recent death.
+Recognized in ADC 99 and Society of Illustrators 62
Client: The New Yorker
AD: Chris Curry
The unequal world envisioned by Bong Joon-ho could be heading for class war or a brokered peace—for savagery or stillness, or both.
+Recognized in ADC 99, American Illustration 39
Client: The New Yorker
AD: Chris Curry
Under Tim Miller’s direction, the Arnold Schwarzenegger franchise finds a novel groove.
+Recognized in ADC 99
Client: The New Yorker
AD: Chris Curry
For the theatre review by critic Vinson Cunningham of Simon Stone’s contemporary adaptation of “Medea,” which stars real-life partners Rose Byrne and Bobby Cannavale as the on-stage partners Medea and Jason.
A new production uses the familiar thrusts of Euripides to find the reality in long-running theatrical archetypes.
Medea is originally a tragedy written by the ancient Greek playwright Euripides, and tells the story of Medea’s revenge against her ex-husband Jason for betraying her with another woman.
+Recognized in ADC 99
Client: TED
AD: Sacha Vega
Too many of us, too often, think of pain as something that needs to be eliminated, at any cost. But we — doctors, patients, drug makers, and all of us — can be part of a much-needed shift that questions this attitude, says bioethicist Travis Rieder.
Recognized in American Illustration 39,
Client: Institutional Investor
AD: Jeremy Leung
An illustration for a piece about the international hedge fund TwoSigma expanding into private equity, specifically one that involves big data, machine-learning, and tech.
A famed quant shop opens its internal private-equity fund to outside investors for the first time.
Client: The New York Times; Sunday Review
AD: Nathan Huang
For an essay by David Bentley Hart asking why many modern Christians have a deep emotional need for an eternal Hell.
The idea of eternal damnation is neither biblically, philosophically nor morally justified. But for many it retains a psychological allure.
Client: ProPublica
AD: Hannah Birch
The corporate consulting firm reported bogus numbers and flailed in a project at Rikers Island. Today, assaults and other attacks there are up almost 50%.
Client: The New Yorker
AD: Chris Curry
What appears to be consensual intimacy is an act of deliberate carnal deceit.
For Anthony Lane’s film review of The Burnt Orange Heresy in The New Yorker magazine. The film is about how the charismatic art critic James Figueras and his American lover travel to the lavish Lake Como estate of powerful art collector, Joseph Cassidy. Their host reveals he is the patron of Jerome Debney, the reclusive J.D. Salinger of the art world, and he has a simple request: for James to steal a Debney masterpiece from the artist's studio, whatever the cost.
Client: The New Yorker
AD: Sebit Min
Republished from The New Yorker archives from the June 18, 1949 issue, this illustration accompanies Lionel Trilling’s original book review of 1984, way before it became the cultural phenomenon it is today.
George Orwell’s “1984” predicts a state of things far worse than any we have ever know.
Client: The Ringer
AD: David Shoemaker
Client: The New York Times; Disability Series
AD: Jim Datz
For an article on how the writer, a queer woman who grew up in a Catholic household in Christian-majority Yorkshire, contrasts her upbringing as the other with the problematic ways disabled people are represented in ableist literature and media; all as she learns to navigate life with multiple sclerosis.
+Recognized in 3x3 16
Client: Institutional Investor
AD: Ed Johnson
Investors love debt. But is shadow banking hiding risks that should be plainly visible?
Client: The Ringer
AD: David Shoemaker
Editorial illustration for The Ringer, for an article during Horror Week that details how Invasion of the Body Snatchers is one of the scariest films of the 70’s.
Client: The New Yorker
AD: Sebit Min
An editorial illustration for an adaptation from a speech Jonathan Franzen gave on climate change.
Franzen argues is that we should stop pretending that humanity can fix climate change. Humans are doomed, and should a) admit that and b) realize that reducing carbon emissions, as an all-in political goal, is kinda pointless. Instead, we should acknowledge that any world-improving action—reducing inequality or securing fair elections—will in some ways help us when the inevitable apocalypse comes.
Client: Institutional Investor
AD: Jeremy Leung
Private equity firms get paid lavish amounts in fees to do private equity work: buy companies, combine them, make them more valuable & sell them. Now, many of the biggest private equity firms are getting huge into credit. What will be the fate of these private equity firms?
Client: The Guardian
AD: Juweek Adolphe
For a piece on how voice plays an important step amidst a trans woman’s transition and how vocal training can help her find her voice. Hormone treatments can change several things about ones body except their vocal cords. And since trans people face extraordinary levels of violence, achieving a feminine voice can serve as a cloak of protection from bias and bigotry.
Acrylic and colored pencil on paper. 12” x 16”
For the Spring 2019 Game of Thrones exhibition at Spoke Art SF.
Client: NPR
AD: Meredith Rizzo
Editorial illustration for NPR, for an article on how the author has a hard time talking about her mental health with her 1st generation Filipino-American mother due to the culture clash.
Client: The Hollywood Reporter
AD: Kelsey Stefanson
For an article on how the CEO of Bustle Digital Group has built a career on reviving websites on life support, like Gawker, Mic, The Zoe Report, Outline, and Elite Daily.
Client: Artetorial
+Recognized in American Illustration 38
Client: The New York Times
AD: Hannah K. Lee
“President Trump killed a deal that would have allowed Cuban baseball players to enter the United States legally and safely. “
Acrylic, colored pencil, graphite, and gouache on paper mounted onto board. 18" x 24"
For the Isle of Dogs Exhibition at Spoke Art NYC, Fall 2018.
Client: The Ringer
AD: David Shoemaker
Client: GOOD Media
AD: Tatiana Cardenas
Editorial illustration for a killed article on GOOD, about the writer's experience in a sensory deprivation tank with the purpose of using float therapy to face her fears and anxieties of death and the afterlife.
+Recognized in 3x3 15, Spectrum 26
Client: The New York Times
AD: Melody Newcomb, Jim Datz
For an op-ed about our individual expectations of privacy in public spaces.
Client: Intercom
AD: Stewart Scott-Curran
An illustration for Intercom’s blog, on how to understand what the customer is really looking for.
+Recognized in Spectrum 26 with a Silver Medal
Client: The Hollywood Reporter
AD: Kelsey Stefanson
Feature Illustration for The Hollywood Reporter on how the ‘Smallville’ actress, Allison Mack, became the lieutenant of the sex cult NXIVM. She was tasked with recruiting “slaves” and branding women with a hot cauterizing pen, all on the false premise of women empowerment.
+Recognized in 3x3 16
Client: VICE, The Marshall Project
AD: Nick Gazin, Matt Taylor
Editorial illustration for VICE and The Marshall Project, for an article about how all the times the author was able to avoid prison was due to her racial and socioeconomic privilege.
Client: The New York Times: Sunday Review
AD: Nathan Huang
Graphite and acrylic on paper mounted 8” x 10”
For the Miyazaki Art Show 2019 at Spoke Art in New York City.
Graphite, acrylic, colored pencil, and acryla-gouache on paper mounted onto panel 24" x 30"
For the Miyazaki Art Show 2017 at Spoke Art in New York City.
Acrylic, graphite, colored pencil, and ink on paper. 16"x20"
For the Hayao Miyazaki Tribute Exhibition at Spoke Art SF
Graphite, acrylic, and colored pencil on paper mounted onto panel. 12” x 16”
For the Spaces in Between group exhibition at Giant Robot, Los Angeles.
Risograph on paper. 9” x 12”
For the Spaces in Between group exhibition at Giant Robot, Los Angeles.
Personal work
Acrylic, graphite, colored pencil, and gouache on paper. 28" x 35"
