I am an abstract painter working with acrylic paint, oil sticks and mixed media. My work focuses on texture, color and movement. I always think about texture when creating a piece and about how much texture I want a piece to have depending on what I want the work to express. While the final aesthetic is important to me, my focus is more on the physical manipulation and exploration of the paint itself during the painting process. While I work I think of what the painting needs in order to achieve a sensation, whether through a certain color, texture or shape. I lean towards vibrant, high chroma hues with the incorporation of subtle tones. I hope to evoke feeling through my marks rather than paint a picture of a specific emotion.
I paint large scale and in turn feel more physically engaged in the process, stretching my arms to reach the far corners of the canvas and simultaneously providing a therapeutic release. Physical movement in the creation of a work leads to a sense of visual movement when the work is viewed. The viewer might imagine how each stroke was made, moving their eyes around the painting the same way my arms did when creating it.
My paintings serve as a physical and emotional release. As I paint I am discovering different ways to release emotion that I then hope to convey to others in an art therapy practice one day.

My work focuses on subjects that are very much a part of my daily life and that feature heavily in the New York City streetscape. I aim to depict the routine surroundings of New Yorkers, such as ATM machines, garbage piled high, fire hydrants, fluorescent nighttime lighting, bodega windows and other “street objects.” These street objects are all visible from the point of view of a person walking down the sidewalk and available for anyone to see. My power as an artist allows me to bring these objects the recognition they deserve and leave the skyline and other more popular NYC views for postcards.
I am indirectly inspired by found-object and Readymade artists. I am exploiting the humor and ridiculousness of my ability to give objects a new context and life to the point that my depiction of them can be called art. The wrinkles of a garbage bag or the rust of a fire hydrant, rendered through painterly techniques, can be as beautiful as fabric folds in any Renaissance painting. Using a combination of humor and formality, I make these lowly objects into subjects of fine art. Each scene functions as a sort of contemporary still life and sign of the times.
My painting process uses a wide range of classical and modern techniques, landing between photorealism and impressionism. Paying close attention to realistic form and local color, my paintings are quickly readable while leaving room for painterly sections that show my hand in the work. I create full scenes on large canvases and separately, paint a series on paper of singular floating objects removed from their context where they can be appreciated for their appearance instead of having to relate to other objects.