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WORK
Original Paintings
A selection of original works. All pieces are one of a kind.
In My Marrow (Diptych, Part II)
2026, 20" x 20", acrylic and textured compound on
canvas
The second of a diptych, "In My Marrow" answers in warm bronze and urgent, layered mark-making. Mirrors that refuse to reflect identically, each incomplete without the knowledge of the other's existence.
canvas
The second of a diptych, "In My Marrow" answers in warm bronze and urgent, layered mark-making. Mirrors that refuse to reflect identically, each incomplete without the knowledge of the other's existence.
Armor Has No Use Here (Diptych, Part I)
2025, 20" x 20", acrylic and textured compound on canvas
The first of a diptych, "Armor Has No Use Here" opens in bronze and graphite — broad, sweeping, exposed. Painted in conversation with an unseen counterpart, it asks what remains when defenses are released. Two works, one origin. The disarming always comes before the knowing.
The first of a diptych, "Armor Has No Use Here" opens in bronze and graphite — broad, sweeping, exposed. Painted in conversation with an unseen counterpart, it asks what remains when defenses are released. Two works, one origin. The disarming always comes before the knowing.
East of the Sun
2026, 24" x 30", acrylic and textured compound on canvas
Cool silver and graphite pulse with frenetic, competing mark-making in "East of the Sun." Rooted in Norwegian folk tale, the work captures the impossible quest — the threshold between day and night, conscious and unknown. Restless, expansive, and luminous just beyond reach.
Cool silver and graphite pulse with frenetic, competing mark-making in "East of the Sun." Rooted in Norwegian folk tale, the work captures the impossible quest — the threshold between day and night, conscious and unknown. Restless, expansive, and luminous just beyond reach.
West of the Moon
2026, 24" × 24", acrylic and textured compound on canvas
Radiating mark-making in warm bronze and umber tones, "West of the Moon" inhabits the liminal — the impossible place of Norse myth where ordinary reality dissolves into the unknown. Scraped and layered, the surface holds the liminal space between the known and the unreachable.
Radiating mark-making in warm bronze and umber tones, "West of the Moon" inhabits the liminal — the impossible place of Norse myth where ordinary reality dissolves into the unknown. Scraped and layered, the surface holds the liminal space between the known and the unreachable.
Love on Loan
2025, 36" × 36", acrylic and textured compound on canvas
Sweeping, circular mark-making catches light across a warm silver and bronze surface in "Love on Loan." Layered and gestural, the work evokes something precious and temporary — held, not owned. A meditation on the fleeting nature of connection rendered in texture and quiet luminosity.
Sweeping, circular mark-making catches light across a warm silver and bronze surface in "Love on Loan." Layered and gestural, the work evokes something precious and temporary — held, not owned. A meditation on the fleeting nature of connection rendered in texture and quiet luminosity.
Some Cuts Are Deeper
2025, 48" x 60", acrylic and textured compound on canvas
Soft silver and taupe layers shift and settle in "Some Cuts Are Deeper." Beneath the luminous surface, fine mark-making traces what we learn to conceal — the insecurities we paper over, the adaptations we mistake for healing. What's buried deepest leaves the most enduring mark.
Soft silver and taupe layers shift and settle in "Some Cuts Are Deeper." Beneath the luminous surface, fine mark-making traces what we learn to conceal — the insecurities we paper over, the adaptations we mistake for healing. What's buried deepest leaves the most enduring mark.
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