kHyal_woodland-blips_1900px-533x640Complex, and unclassifiable, kHyal’s work riffs off of pop culture icons and performs like a Rorschach Test in a behavioral science lab, tugging at the neurons of each viewer, and born to challenge perceptions. Using ordinary objects snatched from dumpsters, recycle centers, flea markets, tag sales, thrift stores and the street — assembled with raw precision in a dazzling cacophony of visual clutter — each piece decidedly explodes the human-centric flaws, foibles and sometimes tragic outcomes of a plastic society.

The work speaks to our imperfections and glazed ideals, a Super Fake Cult that has its day in the sun, and then morphs into the latest new trend. What we aspired to yesterday, is what we throw away today — leaving our emotional bonds and fingerprints behind — often on objects made from materials that will never decompose, and would otherwise be left to the landfills, in shapes we form attachments to, then get bored of because they have no real meaning. Glitter, rhinestones, rainbows and unicorns. Overused clichés and superficial samenesses. A vernacular of nothingness.

kHyal’s work is an archeological dig, an observation of the mess we call mankind, in a rearrangement of the discarded ordinary into a sometimes awkward form of self-portraiture through vignettes of her childhood memory. In a highly personal saga, the past is unearthed in stories told through the immediacy of quickly juxtaposed objects, much like when children who suffer a trauma are asked by psychologists to visualize their experience through puppets or drawings. It surfaces obscurity in a remix of the banal malaise of society at large — a contemporary primordial ooze — into a strange and vivid world that is uniquely hers.

kHyal’s fashion-based work deals with similar themes but is built around performance, and plays with the notion of celebrity, as written about on KnotWe.

View kHyal’s exhibition list and bibliography.

One might compare her work with David Lynch’s film Blue Velvet—an innocent, almost cartoonish world of color and light which masks some deeper, darker social realities.


—Geraldine Carter, 1996, “Museum Piece”

kHyal is mostly self-taught. She attended various art schools, but rarely went to class, and shied away from anything that would “teach” her how to make “art.” She instead developed her personal style outside of school while studying communications, graphic design, experimental video and music, and law at Emerson College, The School of the Museum of Fine Arts-Boston, Boston Film and Video Foundation, Loyola Law School-Los Angeles and more recently at the Fashion Institute of Technology (FIT). She was in the forefront of technology in the early 80s, and was among the first artists using computers in their work and creating multimedia installations and MIDI performances with video and computer animation.

kHyal creates fashion, illustration, character design and art under the names MegaGlam and Super Fake Cult. She is also the creator of The Weather sKwirl™ (her alter ego) and produced an original cartoon every day for two years straight (730 days) between 2010–2012 that garnered her media attention, inclusion in art books, public art commissions, private art sales, and a product line that has been featured in stores, galleries, art fairs and street art in New York, Las Vegas, Miami, Los Angeles, San Francisco, London, Barcelona, Paris, Toulon, Beijing, Shanghai, Montreal, Amsterdam, Brussels, Boston, Basel, Zurich, Milan, Cannes, Venice, Brooklyn, Florence, Fabriano, Frankfurt, Atlanta, Buenos Aires, Beirut, Istanbul, Kobe, Nagasaki, Tokyo, Berlin and beyond.

kHyal is founder and President fiZz Agency, a boutique design and marketing firm. She is a designer, writer, speaker, author and educator.



 An homage to quirky handmade signage.
Plus, a whirlwind of discarded pop iconography stuck in a blender and fastened to a time capsule.

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