Each entitled by the date of its completion, the paintings are composed of thousands of found and collected stickers that I arrange and then affix on the canvas. Each piece is then sealed with one layer of polymer and one layer of polycote that results in a seamless and unified semi-gloss finish. The paintings at once synthesize and archive the infinite array of language and imagery as they move through our shared public space. My interest in stickers as a material is in the tension between their physicality, ephemeralness, and directness. As we increasingly retreat from shared public space to singular online existences, stickers stake corporeal claim to the relationship between hands and eyes all the while fabricated with intended impermanence. They are antithetical to the monumental. They are not made to last yet often communicate aspirational meaning. Beyond painterly considerations of color and shape, I am attracted to stickers mirror or expand my politics. As a queer person and an activist/prison-abolitionist, I am always advocating for less punitive and more expansive futures where prisons and binaries are rendered obsolete. To that end, I search out and insert stickers that indicate these possibilities in all my paintings whether through the likeness of Angela Davis, an Antifascist flag, or text-based queer stickers. Among playful, pop, utilitarian, and humorous stickers, these potent stickers are portals into more hopeful futures.