I paint what can’t be seen—emotional weather, sensory memory, and the quiet terrains that move beneath the surface of our lives. My work begins with instinctive, unguarded marks and evolves through layered movement, atmospheric color, and cycles of excavation, obscuring, and re-emergence. I follow the felt sense of a moment—its storm, its suspension, its tension—until the painting finds its own internal logic, revealing what wants to surface and what needs to dissolve.

My current body of work is a developing series inspired by Walt Whitman’s I am large, I contain multitudes, exploring multiplicity, internal scale, and selfhood as a shifting landscape rather than a fixed state. These paintings often unfold across expansive, asymmetrical formats, including diptychs and triptychs, where activated seams, gravity-driven drips, and raw mark-making suggest movement, descent, and psychological weather systems. I prioritize restraint, visible process, and unresolved tension, allowing the work to remain open and alive rather than resolved or illustrative.

Rooted in intuition and embodied experience, my practice investigates the space where feeling becomes form. Each painting creates an abstract environment shaped by internal terrain—its fractures, accumulations, disruptions, and shifts. Through gesture, revision, and the interplay between what is hidden and what is revealed, the work holds traces of energy, memory, rupture, and restoration.

I aim to build paintings that offer a place to slow down and feel: spacious environments where viewers can recognize something quietly true within themselves. Each piece holds a record of becoming—a moment of presence where emotional weather and internal terrain converge.