Artist Statement

Painting, for me, is a way of staying with experience long enough for it to take form. I move quickly in the early stages, using acrylic and mixed media for their momentum, risk, and immediacy. Then I slow down, building through layers until the work resolves. Marks are laid down, lifted, and revised, so the surface carries its own history and invites return. Nothing is concealed. Decisions stay visible and alive, giving me room to push material, texture, and depth as it builds.

Texture is essential to my process. I’m drawn to it visually and physically. I want to feel the paint in my hands and stay close as it shifts and resists. I’m drawn to raw, worked surfaces, the way weathered things in nature hold their own kind of beauty. I carry that sensibility into the canvas through my own visual language. It isn’t literal. It stays abstracted, allowing the painting to speak on its own terms.

My work isn’t planned, and it isn’t meant to illustrate. It develops through looking, adjusting, and sustained decision-making, responding to what needs to happen next. My interest lies in how touch and time alter a surface, and what becomes possible through accumulation. Ultimately, what matters to me is the honesty of that unfolding.

Painting is also a form of introspection. It becomes an exchange between what I’m carrying internally and what the surface is willing to hold. I think of it as something meant to be lived with. I care about how a work holds space and invites prolonged looking without needing to explain itself. If the paintings succeed, they offer a place to pause and meet the surface on your own terms.