2026 ☆ aerografia, giz e tinta acrílica
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Pictures I took at MoMA.
Last Friday, Me and some high school students went to trip at MoMA.
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Sometimes I look at buildings and try to picture myself living there. Whether I can or can not. Just by feeling. Just by looking at them. It takes only a split second laying eyes on the crumbling concrete and i’ll know. Today, I picked the orange window. I’d definitively live there. 10/10 ..but tomorrow, tomorrow who knows?
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Relearning how to draw since it’s something I liked as a kid and with all the AI bs I think we all need to be making more art :D
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Frozen Abyss
I have created a abstract artwork where everything is frozen and ice cold And it has that dark abyss to it
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Today was abstract painting day. I’m not good at abstract painting, so I had to throw out a lot of miniatures before I understood and felt the power of non-figurative art.
Here’s my best! Giverny. I’m thinking of doing a full-length piece. And I still need to add a little color)))
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If you’re in Orlando until Feburary 14th. I implore you go visit CityArts as my grandfathers artwork is being displayed there. A little backstory. My grandpa made artwork and attended Corcoran School of Art.
I never knew much about him as I was 9 when he passed. But I would like to pass off these few lines about him.
Following his honorable discharge in 1981, Les continued to pursue art seriously. He earned a Bachelor of Fine Arts from the Corcoran School of Art in Washington, D.C., in 1988. During this period, he also worked in sculpture; one notable piece—a figure depicting a man struggling while carrying a burden—was sold to a downtown Washington law firm, an extraordinary achievement for a student and a recurring thematic expression of Les’s inner world.
Les also expressed himself through music, playing guitar and performing in several bands. Whether through sound or image, improvisation and intensity were constant threads. Expression was never optional; it was essential. Despite formal training and moments of institutional recognition, Les’s life remained unsettled. He carried deep internal tension, and his path was often marked by conflict and restlessness. During a later chapter of his life, following his divorce, Les spent approximately one year incarcerated in Fairfax County Jail because of a personal dispute unrelated to his former spouse.
It is from this period that some of his most compelling and revealing works emerged.
Working with severely limited materials, Les created dense, intricate compositions on grocery bags and discarded paper—surfaces never intended for preservation. These works are not exercises in despair but acts of defiance. Every inch is activated. Space is filled, reworked, and layered, as if drawing itself were a means of survival. Language appears within the image. Symbols collide with figures. Order wrestles with chaos. Confinement becomes both subject and condition.
These pieces do not ask for sympathy. They ask for attention.
Though Les produced thousands of works over his lifetime, he rarely sold them. Art was given away, left behind, lost, or carried forward with him. What remains today—approximately one hundred preserved works—represents only a fragment of his output, but a powerful one. Together, they form a visual record of persistence: an artist who continued to draw regardless of recognition, circumstance, or outcome.
In his final years, Les was diagnosed with pancreatic cancer, a battle he faced for more than a year. He passed away in Florida in May 2014 and was reunited with his brothers near the end of his life.
While serving in the Marine Corps, including time stationed at Quantico and in the Philippines, Les’s artistic abilities were formally recognized. He was encouraged to document Marine Corps activities visually and to work continuously from life, carrying sketchbooks and painting directly in the field. His dedication and rapid improvement led to the accession of eleven of his works into the U.S. Marine Corps Museum Art Collection. Five of these were selected for the “Every Clime and Place…” exhibition—an uncommon achievement for a first-time exhibitor—and one received an award in the annual Combat Correspondents contest.
In a February 1985 letter, the Curator of Art for the Marine Corps wrote that Amen possessed “an open mind, a love of drawing and intelligent experimentation, a capacity for hard work, and a strong sense of responsibility.” That phrase—a love of drawing and intelligent experimentation—would come to define Les’s life’s work quietly.
It’s public knoweldge I am part filpino.
But here’s his art.
I do not own these images. But these are his portfilio. I do like to also mention at least one painting is owned by my Grandma. The interesting thing about my grandpa is, that he didn’t sell any of his paintings at all.
There was a lot in his home afair when we visited he had tons of them all over his home. My grandma also owns his computer which contains most of his garageband music.
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“CRESCER LÁ FORA” (2025)
Intervenções Urbanas #2 – Mulungú Cultural
Pintura – Quadra esportiva
Dimensão: 16,80 x 10,84 metros (182m²)
Intervenção Visual para Mulungú Cultural – Commission
Camila Moritugui
São Paulo, Brasil
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Ficha técnica:
Obra: “CRESCER LÁ FORA”
Artista: Camila Moritugui
Projeto: Intervenções Urbanas
Realização: Mulungú Cultural
Local: Praça Novo Mundo - São Paulo, Brasil
Mulungú Cultural
Coordenadora geral: Dara Roberto
Coordenador de Responsabilidade Social e Impacto: Pedro Augusto
Coordenador audiovisual: Victor Brum
Produção: Ananda Vieira
Produção geral: Mayara Hatano
Mídias Sociais/Comunicação: Naum Roberto