work
FASCIA
2026, Mixed media on Stonehenge paper: watercolor, India ink, charcoal, acrylic, oil pastel. Each piece approx 6" x 7"
Classical architecture meets surrealism meets abstraction meets a bad moon rising, trouble on the way. Heavy symbolism. Art as resistance.
A mishmash of jumping-off points: archi, vintage National Geographic magazines, the absurd, a favorite shade of fluro rose and the deep gnarly current state of affairs. I thoroughly, truly, deeply loved working on this collection - it served as a wonderful vehicle for my multi-faceted, multi-functioning, eclectic eccentricity.
Boxes of vintage National Geographic magazines found at a local Habitat for Humanity ReStore have become a favorite source. For this series I spent time with pages ranging from 1940s photographs of Roman and Greek architecture to 1950s ballroom design and attire.
The Corinthian capital continues to appear in my reference material. Its acanthus leaves, fluted shaft and layered complexity. An example of ornament as load-bearing language. I keep returning to what classical architecture says about power, beauty, permanence and the hubris of civilizations that believed they would last forever. I also believe that without an understanding of the foundation of something, architecture included, one can only go so deep.
The classical period, while it is not the beginning of architecture (that goes back to the transition from caves to caves with "post and beam" structures extending off of them), is a key period to spend time with if one wants to really see and feel and understand the modern movement and what is considered temporary architecture.
I started with a large sheet of Stonehenge and divided it into 15 rectangular spaces. An architectural division of the picture plane as a first mark. Structure then detail, in art as in architecture. I love working on paper. Stonehenge specifically because it holds heavy water and multiple mediums without complaint.
Fascia: the connective tissue that binds together body structures. Elastic-y throughlines. High tensile strength. The thing that holds it all together underneath.
subsumeD
2025 - ongoing, Mixed media on 300gsm cold press watercolor paper: acrylic, sawdust, charred Japanese honeysuckle, cambium / natural fiber, India ink, oil pastel, Posca marker, graphite 18”x24”
These works obscure what they once revealed. A body of layered figuration and submerged narrative, born from a different series of works, but now distinct. What began as gesture and memory becomes transformed. A physical accumulation of material, emotion and residue.
Charred Japanese Honeysuckle - a highly invasive plant found throughout Appalachian Ohio, clipped from my backyard and burned at the site of a project we are designing with the land rather than against it. Cambium collected at a Fall Fungi Festival workshop in Athens, Ohio, originally intended for cordage. Both are now permanent mediums in my rotation.
As above, so below.
These are initial pieces in the ongoing SUBSUMED series.
the eleventh hour
2026, Mixed media on canvas: acrylic, charcoal pencil 20”x20”
Aerial patterns, desert irrigation, satellite grids, an old atlas, rust-red dirt, deep cavernous canyons seen and felt from the many plane rides I've taken over recent years traveling to/from Utah and Ohio for work and for life. I started drawing circles with a compass that belonged to my grandfather.
I may come to a piece with an idea or a study, but once I start making marks, I follow what I find. This series changed significantly once I started painting - impromptu decisions drove most of it, which is how I tend to work.
This is a series where the darkness, the not-belonging, the black sheep feeling that doesn't have a clean resolution is allowed to exist and breathe. I am obsessed with layers: thin, washy black beneath thick, grease-heavy black. I love playing with what gets buried and what bleeds through.
THE HUM
2026, Mixed media on 270 gsm mixed media paper: acrylic, liquid watercolor, India ink, graphite, oil pastel 8.25” x 11.75”
I am always observing, studying. I travel frequently, and the cities I spend time in are bursting with things to take in - skylines, cranes, bridges, light posts, the way a city sprawls beyond its own bounds and the mixture of merging life that happens at its edges.
This series began with a palette knife dipped in India ink, pressed flat against the page of a mixed media sketchbook. I immediately saw a skyscraper and laughed - it was accidentally so architectural and so exactly the overlap [of art and architecture] I live in. I started looking for what else I could find hiding in marks and as I worked I quickly saw power poles, roads, rivers, people moving through cities and buildings I didn't plan to make.
The first mark I made on Fire on the Mountain and The Latter Day Saints, the stark centered triangular line, became a mountain. I grew up staring at Mount Olympus from my bedroom window in Holladay, Utah. When I was eight or ten, it caught fire - a ring of fire visible from our front yard. Fire on the Mountain is a Grateful Dead song, but it is also that memory. The horizontal rectangle with a vertical steeple appeared next and I knew immediately what it was - the LDS temples that are impossible to miss in Utah.
The Grateful Dead are a thread through this series. Their music is transformative. I grew up hearing it and I seek it out every chance I get. After making the Fire on the Mountain and the LDS piece I felt a freedom to name and explore some of the other works in this series in conversation with them.
The blue and green pieces came from noticing an unintentionally restricted palette and I decided to push it. I introduced cooler liquid watercolors and immediately knew I was painting water: rivers, rain, nocturnal city scenes.
THE HUM is built from marks and the icons and anchors of the places I frequent, along with a vibrant palette anchored by inky, deep black. Community. Culture. Expansion. Emblems of a city. Architectural illustration meets expressive, abstract, gestural mark-making.
001_SPRAWL
002_SUSPENSION
003_EYES OF THE WORLD
004_NIGHT DRIVE
005_WET CITY
006_FIRE ON THE MOUNTAIN & THE LATTER DAY SAINTS
007_THE HUM
008_DENSIFICATION
2023 Mixed media on 300 gsm cold press watercolor paper: watercolor, India ink 18”x24”
Trail running is my favorite form of movement. I take in everything around me: plants, rocks, trees, animals, bugs, birds, the temperature, the humidity or dryness in the air, the unseeable company of Mother Nature, the shifting of seasons.
HARVEST: SCYTHE & STRAW is inspired by late summer and early fall, the chaos of abundance, the first signs of decay. There is an ethereal quality to that moment just before the cold arrives. The mold on the straw pre/post-harvest + the bustle before the stillness of winter.
The vibrant oranges, warm ochres and deep, inky black in these pieces has become a palette I gravitate to.
HARVEST:
SCYTHE & STRAW
SCYTHE
STRAW