Curated Collections and Series
Inherited Objects
Inherited Objects explores what we carry from one generation to the next—both the objects we inherit and the histories, expectations, and patterns embedded within them. Using familiar heirlooms, particularly decorative porcelain and china, these paintings examine the tension between preservation and transformation: what we choose to protect, what inevitably breaks, and what can become something new. The series considers inheritance not as something fixed, but as something we have the power to reshape.
Modern Renaissance
Modern Renaissance explores the idea that while the scenery changes, people don’t. Borrowing figures and compositions from master painters such as Caravaggio and Francesco Solimena, the series reimagines historical imagery within distinctly contemporary settings. Renaissance figures are transported into subway cars, city streets, and spaces illuminated by neon signs and modern technology—highlighting the enduring nature of human emotion, relationships, conflict, and connection across centuries.
Abstract Energy Series
This series of work has emerged slowly over the past 10 years. Only recently did it occur to me that I was attempting to capture the concept of ‘energy’ in a visual way and that it’s been a reoccurring theme. I’ve classified pieces in this collection according to their continuous and organic movement covering the entire the canvas. These are by far the most challenging, time-consuming, and layer intensive paintings I make. Not surprisingly, they are also the most rewarding.
Experimental Processes, Mixed Media, and Tape Paintings
While easing into abstract painting from more traditional work I developed a process involving masking-tape to help facilitate the transition. In recent years this has evolved into a very physical process of ripping up canvas paintings, sewing them back together and creating entirely new compositions
This unique process allows me to separate from composition all together by focussing on one defined step at a time rather than worrying about the final product. It’s like creating puzzle pieces on one surface, then putting them together on another. I tend to go back to this technique about once a year.. mostly because they’re really fun to make, but also because I love the result.
Distorted Imagery
Paintings in this series have a foothold in both the representational and abstract space. Although each image is abstract in nature, its inspiration and/or origin came from an existing image or concept. I see these works as an opportunity to compromise between my love for abstract art, and the typical viewer love of being able to name what they’re looking at.