I make color-saturated abstractions infused with hints of scribbled, organic forms inspired by the graphic lines and vivid hues of graffiti and by the urban plant life that pushes through cracks in the sidewalks — uninvited marks and untended growths etched into the city’s landscape, asserting their presence through quiet persistence and vitality, representing – and celebrating – presences that interrupt dominance and introduce counterweight.

My painting process mirrors ideas of residue and emergence. I explore material properties, responding to the forms that surface, allowing accidental effects to coexist with purposeful structure. Each painting unfolds through defined forms and fluid washes, blurring distinctions between sequence and precedence. Traces of additions and erasures remain visible as trains of thought, like sprayed marks or neglected weeds that linger in our visual experience of the city. Through this interplay of chaos and control, and shifting color intensities, the works offer both moments of exhilaration and spaces of tranquility.

In other works, small sculptural pieces and palette strips, I document the fragments and decisions integral to the final form, echoing the residues of marks within the paintings. The sculptures, string wrapped around blue tape, paper stencils, and other bits of studio detritus, are labeled with the day’s date, diaristically recording the act of making. The canvas strips, collaged with paint skins, chronicle my range of color choices. Together, these pieces expose the painting process, revealing both the steps taken and the excesses discarded along the path to completion. By disclosing this process and its remnants, I highlight the importance of what remains, those essential yet too often unseen components that form the building blocks for more “finished” works.