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This composition bursts with playful contradiction and layered symbols. Vivid oranges, purples, and acid greens collide in concentric circles, sharp triangles, and abstract forms. Fragmented text repeats phrases like “CROW,” “EATING PIZZA,” and “OCT 2021,” suggesting both a surreal event and a tongue-in-cheek commentary on urban life, memory, or absurdity.
The overlapping forms evoke posters, digital overlays, and retro screenprints—melding analog and digital aesthetics. A triangular shape, resembling both a crow’s beak and a pizza slice, anchors the center, flanked by repetitive “A”s that may signify hierarchy, absurd branding, or a cryptic code.
Despite the collage’s density, it retains a sense of humor and rhythm, as if caught mid-transmission between satire and sincerity. Crows in a Park, Eating Pizza is a pop-ritual—part consumer critique, part city fable, part postmodern haiku.
This composition bursts with playful contradiction and layered symbols. Vivid oranges, purples, and acid greens collide in concentric circles, sharp triangles, and abstract forms. Fragmented text repeats phrases like “CROW,” “EATING PIZZA,” and “OCT 2021,” suggesting both a surreal event and a tongue-in-cheek commentary on urban life, memory, or absurdity.
The overlapping forms evoke posters, digital overlays, and retro screenprints—melding analog and digital aesthetics. A triangular shape, resembling both a crow’s beak and a pizza slice, anchors the center, flanked by repetitive “A”s that may signify hierarchy, absurd branding, or a cryptic code.
Despite the collage’s density, it retains a sense of humor and rhythm, as if caught mid-transmission between satire and sincerity. Crows in a Park, Eating Pizza is a pop-ritual—part consumer critique, part city fable, part postmodern haiku.