Made with Love?

Art, Love in Spite of
A stark black-and-white photo features two figures—one in a dress, one in a suit—holding pinkies, their hands bound together by a single pair of handcuffs. Centered across the image, in bold red spray-paint, the phrase “Made with love?” cuts through the monochrome like a challenge, not a declaration.
The Hold.

Commitment can mask a lot of quiet resentment. What are we really promising each other? And what are we trading to keep the promise? Attachment gets mistaken for love more often than anyone wants to admit.

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In "Made with Love?" I explored the moment when needing someone turns into chaining them and yourself in the process. The handcuffs symbolize the weight of emotional dependence, turning connection into confinement, and the black-and-white palette mirrors the cold, transactional energy of modern commitment, interrupted by red graffiti that screams rebellion and regret. That question mark is the soul of the piece—suspicion, irony, and pain all rolled into one. This piece where love becomes collateral and intimacy begins to feel like a trap and the fantasy from earlier is vandalized by doubt. There’s still tenderness in the visual language, but it’s uneasy—fear and control now lace every gesture. Why can “Love” start to sound like “captivity?” The realization can dawn and make even the most sacred connections can rot. This is the point in the story where the fairytale cracks, revealing the claustrophobic reality beneath: a prettier kind of prison, fully aware, fully complicit.
Next work -
Kiss Kiss, Kill Kill!
Two silhouetted figures, one male and one female, stand back-to-back with guns drawn against a bold red-and-white sunburst, with “Kiss Kiss Kill Kill” across the frame in a retro action-movie font.