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.
Client: Artetorial
Client: Believer Magazine
AD: Kristen Radtke
One of several illustrations for the Borders Issue of Believer Magazine (October / November 2019).
Client: Institutional Investor
AD: Ed Johnson
Investors love debt. But is shadow banking hiding risks that should be plainly visible?
Client: The New Yorker
AD: Chris Curry
Under Tim Miller’s direction, the Arnold Schwarzenegger franchise finds a novel groove.
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.
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.
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.
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: 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.
Client: Cincinnati Magazine
AD: Zach Ghaderi
A June 2018 fire at Molly Malone’s in Pleasant Ridge significantly damaged the Irish pub and destroyed the Coffee Exchange next door. Putting things back the way they were is harder than it looks.
Client: Medium / Gen
AD: Tessa Modi
Acrylic and colored pencil on paper. 12” x 16”
For the Spring 2019 Game of Thrones exhibition at Spoke Art SF.
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.
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: The New York Times
AD: Minh Uong
An illustration for the Economic View column on how the unemployment rate may seem like a good way to measure the whole job situation, but it’s actually only a small part of the story. It doesn’t take into account the participation rate, like people who have stopped actively looking for work, which could be due to a myriad of reasons.
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 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. “
Client: Sierra Magazine
AD: Jessica Meskus
When my family's West Texas ranch burned, it felt like I was mourning a person
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: The New York Times
AD: Jim Datz
Research shows that people with atypical brains are at a higher risk of suicide and self-harm.
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.
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.
Client: OZY
AD: Sean Culligan
Client: The Ringer
AD: David Shoemaker
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.
Client: Politico EU
AD: Tim Ball
Client: NPR
AD: Meredith Rizzo
For an article on how some men’s groups are looking for other ways of discussing masculinity outside of incel groups. They’re trying to find what “being a man” really means, by finding ways to support each other and promote healthy ideas of masculinity in society. Where’s masculinity headed?
Client: The Fortune Society
AD: Khalil A. Cumberbatch, Danielle Rosario
Cover illustration for The Know Your Rights Toolkit, a non-profit resource for people currently incarcerated or detained who fear immigration consequences with I.C.E. as a result of their involvement in the justice system.
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 Ringer
AD: David Shoemaker
Client: TED
AD: Sacha Vega
An illustration for the IDEAS blog by TED on answering the question: "The worst effects of climate change may not be felt for centuries. So how should we think about it now?"
Client: Current Affairs Magazine
Editorial illustration for Current Affairs Magazine, for a first-person essay on what the border looks like from an American point of view, and then learning about the situations deportees and would-be border crossers face in the cartel-dominated town of Nuevo Laredo.
Client: The New York Times Sunday Review, and also published by ProPublica
AD: Nathan Huang
Client: The New York Times
AD: Hannah K. Lee
Client: The New York Times: Sunday Review
AD: Nathan Huang
Client: The New York Times: Sunday Review
AD: Nathan Huang
Client: CANVAS Unplugged
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
