On the Coast is a series which reflects upon a world where society is integrating new technology at an escalating rate. I’m interested in the psychological impact of constant adaptation, using painting to reference moments of transition, the inevitability of change, and the persistence of tradition despite pressure to adapt to evolving values. I’m also very interested in looking at time as a subjective element, identity, and the uncertainty of memories.

oil on linen | 39.5 x 100” (100 x 255 cm), triptych
Modern Artifact speaks about how we interact with images today by referencing features found in the disconnected snapshots and video clips that surround our lives. I reference the pixilation, motion blur, repetition, distortion, and ambiguity inherent in the images we come across daily by using the medium of paint on canvas. I’m very interested in the power of photography to capture the psychological state of an individual and the way visual cues can suggest a sense of place and mood. By combining realistic painting techniques with distortions in space, surface and style, I’m questioning the viewer’s perception of the basic components of representation.
In this series, I refer to moments on the verge of change in which singular moments—such as those captured by a photograph—embody a larger span of time and meaning. My process of composing works and layering paint while retaining the history calls attention to the divergent paths painting and photography have taken in the past century and allows the viewer to access the process. By visualizing the formation of the piece and providing one’s own meaning, the viewer’s engagement is an essential part of each painting and their interaction brings the work to completion.
In these works, subjects, while representational, are partially broken down into horizontal lines, geometric shapes, and pixelated abstraction. I like to let the viewer think about the balance between the real and unreal. Much of what I’m painting has to do with ephemerality, movement, and memory.
These oil on paper works are abstracted portraits based on combined imagery—both photographs and paintings—found on the internet. The act of combining imagery and forming something new is intriguing because, much like the development of memory over time, it involves replacing the original image with a new one.
Inspired by the Tour de France, this series focuses on the subject of bicycle racers, reference the medium of video, and address the concept of movement.
Influenced by photography and the numerous ways images enter our personal space, my work examines how we see the world through the multifarious facets of reality and virtual reality. I use simple geometric patterns together with expressive applications of paint to represent the distortion of digital photography and the lack of clarity our memories provide. By pairing a variety of images together in seemingly incongruous ways and abstracting form in favor of ambiguity, my work attempts to challenge the viewer to create their own narrative.
oil on canvas | 60 x 48” (152 x 122 cm)
Exhibited at New Museum of Los Gatos, 'Abstracts from Life: Bay Area Figurative Past & Present', 2017
Available: InquireThese works focus on the figure, not as a representation taken from life, but as an incarnation of the forces of paint. Ambiguity of form and environment shroud narrative in mystery, revealing enough through the veil of paint to evoke empathy on the part of the viewer. As such, the viewer’s perception becomes an integral component of the work.
In this series, I’m interested in aspects of individual and group evolution. Language from both representation and abstraction are used in order to articulate this concept uniquely in each composition. Figures are depicted in ambiguous narratives which offer viewers multiple interpretations deriving from their own state of mind. Expressive applications of paint mirror one’s own sense of the world, which is not static but constantly changing and uncertain. Paint functions both to create the illusion of depth and to break this illusion in favor of surface qualities which suggest movement, strength, and ethereality. My interest in the concept of metamorphosis stems from the transformative changes I’ve observed in others and in myself and the extraordinary coping mechanisms employed by humankind.
My intention in this series was to create a space which breaks from reality, constructs a new perspective, and touches upon universal human truths. To abstract from reality is to create a metaphor, one which becomes coherent only after being combined with the viewer’s pre-existing library of symbolic imagery. In this realm of the subconscious, figurative and abstract elements combine with preexisting perceptions and archetypes to evoke sensations beyond that which aesthetics can provide. I’d like to invite the viewer to explore his/her own existence through the imagery depicted in these paintings.
My recent work is primarily concerned with space as it relates to the subject and the viewer. By juxtaposing abstract elements with three dimensional representations of space, I aim to create contradictory depth relationships which at once create depth and flatten space. The figure-ground relationships are often interchanging, as elements from the latter shift in front of the former. My artistic sensibilities are informed greatly by my background in psychology, an admiration for the female form, an interest in geometry, and a life-long fascination with modernism.
These oil on panel studies focus on bronze works by the French sculptor, Auguste Rodin. I was inspired to create this series while teaching at Stanford University, where I would often visit the Rodin Sculpture Garden at the Cantor Arts Center to draw from the life-size sculptures.
Combining oil paint with mixed materials, the subject of this project is the abstracted female form. I intended the viewer to become a part of the creative process, whereby their own emotions and presumptions play a role in the story of the piece. For me, a truly successful work is one in which the meaning changes over the course of time, along with the changing perceptions of the viewer.
oil, acrylic, charcoal, sand & archival paper on canvas | 49.5 x 49.5” (126 x 126 cm)
oil, acrylic, charcoal, sand & archival photographic prints on canvas | 36 x 33.5” (91 x 85 cm)
oil, acrylic, charcoal, sand, archival paper & photographic prints on wood construction | 36 x 72” (91 x 183 cm)
Available: InquireThis series was inspired by my first travels to Eastern Europe in which symbols are used to build upon existing archetypes. I use the figure as a subject in my paintings, either by breaking representation through expressive brush strokes and exaggerated form, or by utilizing a constructivist approach through abstraction. I find that when everything comes together, the work can achieve a lyrical depth without subsiding into narration or indulging in excessive randomness. Abstraction within these boundaries allows me to be both resourceful and inventive.
The series, Light Through a Window, is a result of my personal fascination with pure aesthetics. By removing figurative elements entirely, I was able to explore the impact of formal elements on human sensation and perception, unadulterated by any literary implications. These non-objective mixed media collage works on wood exclude a subject in search of a truly visceral visual experience, independent of representation.