My work reflects vulnerability, obsession, and the inaccessible. Thematically many images relate to particular states of traveling, escapism, and voyeurism. They also describe an in-between state of displacement, in which one is not home, but rather in a place inherently depersonalized, transient, but yet charged with expectation and possibility. Several works depict a seemingly closer relationship to the subject in shallow space which is not as specifically identifiable. The subjects remain inscrutable despite the apparent proximity. The backs of heads, averted glances, along with luxurious and sensual textures of hair, fur, and fabrics communicate a sense of longing in which a deceptive feeling of greater intimacy is achieved. The images reference the cinema in composition and a feeling that a fleeting moment has been captured, with the main action of the narrative existing outside of the image presented. By utilizing traditional media (oil paint and charcoal) I find direct, tactile manipulation of the imagery. This presence of the hand visually relates to the subjectivity of perception and memory.

The most recent body of work is a series of small paintings based on old family photographs entitled ‘Memento.’ Images of seemingly insignificant moments of my childhood are juxtaposed with more precious portraits of members of my family. I attempt to recreate the faded palette of old photographs, employing this as an aesthetic, while keeping the paintings loose in effort to capture the feeling of the subject or moment. These paintings are forming an expansive collection that so far numbers approximately 30 paintings. In the process of clustering these works together, I am creating an expansive “picture wall” of my own, reflecting my nostalgic relationship to these pictures of my familial past, which is now only accessible as a series of faded, fleeting images and memories. These lost moments are reconfigured in an effort to grasp what is treasured but never to be again.