Untitled 7; Acrylic and Oil Paint on Panel ; 24x20”
My paintings depict spaces. I use perspective and render light so as to create pictorial depth while simultaneously insisting on the materiality of paint. The viewer becomes acutely aware that my paintings exist as both object and image. As soon as the viewer is pulled into the pictorial space by painterly illusions, they are pushed back onto the surface by the sheer non-descriptive materiality of paint. As I move through the world I take photos, I make observational studies in graphite and paint from my immediate, perceptible surroundings, I collect found images from advertisements or publications which enter my life, I collect objects which I paint from observation. All of this enters my studio as raw material, where it is reconfigured and combined through an intuitive process. In the studio I employ methods of abstract, representational and observational painting together on a single surface. I use a variety of dissimilar materials and tools in a single painting -- from impasto oil paint to acrylic airbrush. My collage-like paintings are representational; that is, they are re-presentations of a world that I experience as fragmented, full of differences and contradictions.
-February 2026
Untitled 8 ; Acrylic and Oil Paint on Panel ; 30x24”; 2026
In my paintings, shards of images from multiple locations gathered over long durations are sutured together. Their simultaneity on the picture plane relates to the flattening of time and space that occurs when one reflects on the disparate experiences which constitute their subjectivity. Not knowing what this place is, the viewer enters a process of constructing meaning via internal dialogue. When a painting engages us in questioning and thorough looking, we engage with the poetic potential of our world, no longer taking for granted those things which may be regarded as banal.
-February 2026
Some Plein air observational studies from a moleskin done last September. all 4.5x8 in"; acrylic paint on paper; 2025
I painted these outside, in real time. Painting from observation outside you get about 2 hours to work on the painting before lighting conditions have changed to the point that you're not looking at the same shadows anymore... You could go back the next day at the same time, but there's no guarantee that the weather conditions (i.e the lighting and colors) will be the same. These were all started and completed within a single 2 hour session.
I make these plein air studies 1) to force myself to look at the world opposed to screens and photographs 2) to use as references for paintings in the studio, because photographs distort colors....
"Untitled 2026 3"; 20x24"; Acrylic and Oil Paint on Panel; 2026.......... Painting and then detail respectively, and then an observational study from a moleskin that I got to put to work in this one.
More selections from a sketchbook I finished in 2025 (horizontal ones this time). All 9x12" on paper, graphite and pen. In some of them I play with combining multiple views, intentionally confusing the sense of pictorial space (the first one). Some of them are straight forward observational studies (the rest).
Here's some selections from a sketchbook I finished last year. All 9x12" on paper, graphite and pen. In some of them I play with abstraction and flatness on the picture plane vs. pictorial space (first and last one). Some of them are straight forward observational studies.
