My work emerges from a fictional brand called CAM (Corporate Anthropomorphic Mascot). A meticulously fabricated universe that mirrors, distorts, and ultimately critiques the ways contemporary corporations shape human behaviour. CAM operates as both satire and study: an uncanny brand-without-a-tangible-product that exposes the invisible mechanisms by which real world companies design our habits, desires, and self-conceptions.

We live in an era where branding has surpassed mere marketing and become a behavioural architecture. Algorithms predict our impulses before we articulate them; interfaces shepherd our attention along predetermined pathways; corporations cultivate aesthetics that feel almost spiritual in their intimacy. CAM embodies this phenomenon by presenting a brand that feels familiar, seductive, and strangely credible. Through its visual lexicon—logos, packaging, slogans, lifestyle imagery—I invite viewers into a world that looks like every brand they’ve ever trusted, followed, or unconsciously absorbed.

The work is not about condemning consumer culture so much as revealing its choreography. By building a brand that exists solely in the realm of art, CAM exposes the strategies that real companies rely on: manufacturing belonging, aestheticizing identity, selling not objects but narratives of self. This fictional framework becomes a safe container for audiences to reflect on how they have been trained to desire, to perform, and to participate in capitalist mythologies.

Across paintings, installations, prints, and digital interventions, I deploy CAM as a living, evolving entity. One that evolves, rebrands, and repositions itself just as real corporations do. Each iteration destabilizes the viewer’s sense of what is authentic and what is engineered. Ultimately, CAM asks a simple but urgent question: when branding becomes indistinguishable from identity formation, where does the self end and the system begin?