Hang On to the Good Stuff is a layered emotional terrain—part graffiti wall, part ritual altar, part quantum field. The surface pulses with chaotic energy: saturated reds, electric blues, and fragmented blacks collide in a storm of texture and urgency. French phrases—“La conscience est le moteur de la liberté” (“Consciousness is the engine of freedom”)—are scrawled across the canvas in a raw, graffiti-esc style, repeated like incantations, half-erased and half-insistent.
At the center, one face remains untouched. It is the witness, the anchor, the part of self that was not overwritten. Every other form is drawn over, obscured, or buried beneath pigment and gesture. This preserved face becomes the emotional fulcrum—the “good stuff” that was held onto when everything else was in flux.
Under blacklight, the piece transforms. Hidden glyphs, radiant textures, and energetic pathways emerge, revealing a second layer of meaning—a subconscious terrain that asks not just what we hold onto, but when we choose to create. Is art born in aftermath, in protest, in healing? Or is it always present, waiting to be revealed under the right light?
This piece is a declaration of presence, a meditation on memory, and a question posed to every artist: When is the time for art? The answer glows in the dark.
