I use painting and drawing to transform natural scenes—especially those from places that hold significance in my life, like Northern California—into post-impressionist depictions of how I experience them. Mountain ranges, the ocean, and sunsets become more than just scenery; they are emotional landscapes shaped by memory and imagination. I also draw inspiration from pinstriping, a form of self-expression through long, single stroke lines often found on classic cars, where individuality is shown through linework color, and style. This influence finds its way into my practice through my attention to detail, movement, and the balance between control and spontaneity.

In my paintings, I like to suggest reflections, light, and shadow in nontraditional ways, using color blocking and layering to build form and mood. I’m drawn to the tension between abstraction and representation, keeping the reference semi-readable but allowing space for the viewer’s own interpretation to come through. My creative process is rooted in experimentation and exploration, embracing spontaneity while remaining grounded in intention and structure. Artists like Maxine Shore, Bobbie Crews, Leslie Vance, and Elizabeth Geisler inspire me, not only in aesthetics but in their approaches to layering and intuition.

Growing up surrounded by diverse natural environments and creative communities, I’ve always found art in the world around me. I aim to create moments of stillness and reflection in a world that often feels chaotic and overwhelming. Even when my compositions appear busy or energetic, I hope they invite viewers to slow down, breathe, and connect—to find calm in the storm. If I could sit on a boat and watch light dance across the water forever, I would. That’s the kind of feeling I hope to capture: quiet, mesmerizing, and endlessly shifting.