Boy with Flowers - an exercise in repression

SIlkscreen and Hand painting on Panel - Collection of David Antonio Cruz

They Fled in the Middle of the Night: The lovers are Now Free.

Medium: Silkscreen and Hand Painting on Panel and in a frame.

Year: 2021

Collection of the artist - contact for sales celloeye@gmail.com

San Sebastian

silkscreen on paper

Your Dangerous Upon the Lips, My Unicorn

Acrylic on linen canvas, 32 × 40 in.
$3,000
Collection of the artist — inquire for purchase: celloeye@gmail.com

Your Dangerous Upon the Lips, My Unicorn is a deeply personal work born from a song I wrote titled Unicorn—a lament on rejection, longing, and the peril of believing too fiercely in a love that cannot return itself. The painting gives visual form to the moment of reckoning: discovering that the creature once believed to be rare, magical, and impossible to lose is, in fact, capable of wounding.

In the mythology of the piece, the unicorn represents an idealized beloved—someone imagined as singular and irreplaceable, a being I believed might never exist for me again if lost. There is both devotion and resignation in this belief: a quiet acceptance that solitude might be the cost of loving honestly. When the unicorn does not return that love, its beauty becomes dangerous, its presence breaking the heart it once inspired.

The water nymph rising from the river is myself—a sensitive, fluid being shaped by emotion, vulnerability, and repetition. As a water sign, the nymph embodies openness and feeling, forever susceptible to injury yet incapable of hardening. She emerges not in defeat, but in acknowledgment of pain as part of her nature.

Drawing inspiration from medieval tapestries, the composition is filled with ornate botanical forms and fantastical birds. These birds—unbound and radiant—serve as quiet witnesses and symbols of freedom, untouched by repression or emotional constraint. They hover above the scene as a counterpoint to heartbreak, offering solace and possibility. The river itself becomes a place of renewal, where sorrow is held, released, and transformed.

This painting is both elegy and survival—an intimate meditation on desire, fragility, and the courage it takes to remain open, even after love has proven dangerous.

Lilith and The Unicorn

silkscreen, watercolor, and acrylic on paper - Collection of Richard Morales and Tom Stoelker.

Salvator Mundi

Acrylic on canvas, 24X30 in.

2018

Collection of the Artist - Contact for Sales celloeye@gmail.com

I Crucify Myself / Golden Cristos

2018
Acrylic and mica flakes on canvas, 22 × 28 in.
$2,500
Collection of the artist — inquire for purchase: celloeye@gmail.com

I Crucify Myself / Golden Cristos is a contemplative and confrontational work inspired by Orthodox iconography and by contemporary movements within LGBTQ+ Catholic communities that reclaim Christ as a queer figure. The painting poses a series of theological and emotional questions rather than offering definitive answers: What if Christ was queer? What if queerness itself is divine?

Christ is presented here not solely as the suffering Son of God, but as a figure of radical otherness—an asexual, liminal being whose life was defined by devotion, mystery, and profound intimacy with those cast outside the dominant order. The work imagines the disciples as a collective of seekers—men bound not only by faith, but by shared longing and difference—drawn to Christ as a mirror through which they might understand their own queerness and spiritual identity.

The figure of Christ is rendered with luminous golden skin against a shimmering field of mica flakes, amplifying his divinity and otherworldly presence. Gold functions both as sacred material and as provocation, echoing the visual language of icons while destabilizing their fixed meanings. His long, quiffed blue hair introduces a further rupture—an intentional deviation from canonical imagery that underscores fluidity, beauty, and defiance of prescribed form.

The title, I Crucify Myself, speaks to the internalized violence often experienced by queer people within religious structures: the act of loving, believing, and existing in bodies and identities deemed transgressive. Yet within this crucifixion there is also reverence, transformation, and self-recognition. The work holds tension between devotion and resistance, sanctity and rupture, suffering and transcendence.

This painting is both icon and inquiry—a devotional image reimagined through queer theology, inviting viewers to reconsider holiness as expansive, embodied, and gloriously unresolved.

Santa Ana

Acrylic on Canvas

The Bird Cage; An analysis on repression

The Smallest Miracles I - Self Portrait

Acrylic on canvas, 16X20 inches

2015

Collection of the Artist - Contact for Sales celloeye@gmail.com

The Smallest Miracles II - Self Portrait

Estigmas

2014

acrylic on panel

11X14 inches