My work investigates the relationship between observation and time—how time is experienced as unreliable, layered, and shaped by the observer. Across my practice, I ask: Can we create works or spaces that engage multiple or non-linear timelines at once? Can the chaos of time be visualized?

This research began at age fourteen through intensive study of figure drawing under illustrator Jeffrey K. Fisher. For me, figure drawing was never about depicting bodies, but about sustained observation and thinking. Through this discipline, I came to understand that my deeper interest lay in capturing time through attention, repetition, and duration.

Although I am often described as a painter, I do not separate medium from concept. I work across drawing, painting, collage, sound, writing, installation, sculpture, performance, and collaboration—selecting materials based on their ability to carry, distort, or suspend time. Much of my work aims to slow, layer, or disrupt linear narratives, emphasizing ephemerality, palimpsest, and sensory experience.

My early exhibitions in Denver focused on obsessive mark-making as a way to register anxious and unreliable time, including a large-scale installation at ATC/DEN and a residency at The Firehouse in Longmont that incorporated community-collected ephemeral materials. Subsequent work expanded into transparency, sound, and spatial layering, notably in OVERLOOK at Leon Gallery, where I collaborated with composer Nathan Hall, and through further research in glass casting.

A pivotal shift occurred with The Lilac Hour, a multi-day, multi-building installation in the Ashcroft Ghost Town near Aspen, realized with support from Leon Gallery and the Aspen Historical Society. Viewers moved through interior and exterior spaces at their own pace, encountering works across painting, drawing, textiles, writing, sculpture, and sound. This project established physical movement through space as a primary method for shaping time while observing two dimensional objects. 

Ephemerality and sensory experience became central in The Dinner Party, a one-night immersive installation in Boulder supported by The Dairy Arts Center. In collaboration with chef Morgan Bolling, the project used painting, drawing, food, performance, and poetry to explore femme and queer fantasy across overlapping timelines. I have continued this research through additional food-based, performative works, including Cake in the Club commissioned by Black Cube Nomadic Art Museum.

Residencies have played a critical role in my practice. A month-long residency at the La Napoule Foundation in France deepened my research into internal, embodied time, transparency, repetition, water, and porcelain, leading to an invitation to return for a two-person exhibition in 2026. More recently, I participated in Westbound: Art by Train, where I created time-responsive drawing and collage works aboard the California Zephyr and installed them in an abandoned train depot, using travel itself as a temporal framework.

Currently, my research focuses on how different media function as tools for time-telling. I am developing ceramic, video and performance projects, layered with painting and drawing, that explore multiplicity, the “multi-self,” and fractured timelines, informed by the work of Joan Jonas and physicist Carlo Rovelli. In the studio, I work through automatic painting and drawing, intuitive mark-making, and material accumulation, allowing objects, texts, and images to collide over time.

I believe the artist is a kind of time traveler. Rather than producing static objects, my work aims to create experiences that persist as memory—shaping how time is felt, remembered, and reimagined.