Artist Statement

My paintings are maps of how I experience the world — not as a linear sequence, but as overlapping layers where past and present, the built environment and the interior landscape, occupy the same space simultaneously.

The structural logic in my work comes from how I think. I trained as a computer engineer, and the language of systems architecture — connected nodes, nested containers, information flowing between boundaries — is how I naturally organize what I see. When I paint, that logic meets raw, physical material: oil, acrylic, newsprint, and canvas collide in compositions that organize and resist organization at the same time.

Much of the work engages directly with the urban environment. I paint the language of development and displacement — LUXURY, REBUILD, TEARDOWN — alongside the infrastructure we stop seeing because it's everywhere: grids, conduits, signal boxes, the connective tissue of cities. Other paintings turn inward, collapsing memory and present sensation into dense, layered surfaces where recognizable forms dissolve and re-emerge. In both modes, I am constructing a non-linear narrative — an attempt to hold multiple timeframes and experiences in a single image.

I work in mixed media on canvas and raw cloth, building surfaces through repeated applications of paint, collaged newsprint, and drawn marks. The process is accumulative and partly improvisational: I establish structure, then disrupt it, then rebuild. The finished painting carries the residue of that negotiation between control and instability.

I returned to painting after an eighteen-year absence. The work I make now is shaped by everything that happened in between.