Below are some of the work I will be including in my applications. Some are finished and some are still in progress. I've included a few notes about my thoughts and process beside some of the images.

See more informal writing and studio notes at the bottom of the page.



first found, 36"x56", mixed media on wood panels, 2013

54 in my mind, 54"x54", mixed media on canvas, 2013

A group shot to show relationship and scale

Title, 16" x12", mixed media on canvas, 2013

Title, 26"x31", 2013

This wood piece is on thin mat board, so the surrounding white is nearly the same depth as the wall.


Title, 22"x20", 2013





Title, 23"x31", mixed media on panel & pencil on wall, 2013

The drawing on the wall is part of the piece. I am cleaning my wall and will update with completed drawing soon.


title, 81" x 66", in Progress

This 2 panel piece was originally part of a 3 panel configuration. All panels are 59" tall, but each has a  slightly different width. Here the left is 40" wide and the right is 39". I am interested in the way the interpretation or focus of these change when they move from being seen individually and then combined with each other.  How the gap or positioning between can alter the dynamics.

This photo is poor quality and I am still working on finalizing this piece. Will update in next few days.

Untitled (Verticle 3, section variable)
Mixed media on paper, wood and wall
64” x 50”, 2013

This piece was originally concieved as part of a the 3 panel group which includes the pieces above. I ended up working on this panel an individual piece which I included in the Pollination exhibition. I may return to this piece and work with it as part of the original 3 configuration in the future.



Untitled (#1, R8/9), Mixed media on paper and wood, 38” x 34”, 2013

Untitled (#4a), Mixed media on paper and wood, 37” x 41”, 2013

These pieces were somehow both nothing and then fascinating to me at once. They change completely with the slightest change of light and move from a flatter quality to something that to me seemed almost animated...

I went back and forth about how much to emphasize the structure and painting underneath. In the end, I wanted the first impression to be primarily from the blue fields without interruption--a sort of purity, with the structure and underpainting to be more noticed after. 

I have a begun a handful of pieces exploring this further.


Title, 37"x45", 2013

i am still finishing this but its mostly here. 

Title, 23"x19", mixed media over wood and canvas, 2013

This was developed as part of Pollination Exhbition Group and still need to finish.

The outline of this piece became the wall drawing for one of the pieces above.

I've been interested in how outline can become more enduring than the actual piece itself. 

title, 24"x18, 2012

2 small pieces still in progress


NOTE: As usual my work is evolving out of a visual language (not verbal) and I don't have much confidence to the words below but will have to come up with some sort of statement for my applications and hoped some of this might be helpful. If not helpful, feel free to ignore!


I am  becoming more conscious of the extent to which the surrounding pieces and studio environment actively change the way we read and respond to work.  As I continue to refer to snap shots of work in progress in some way they begin to hold more solidity for me than any of the actual finished pieces. What can feel more enduring is a streaming language that is made of objects and images but not necessarily in a fixed location or state of resolution? I've begun to intentionally work with these dynamics.  

My recent pieces are constructed on mat board, stretched canvas, wood panels of varying depths, and paper. I continually test each material’s particular physicality – its weight, density, surface, position and scale, relative to the surrounding pieces.  Literal shadow, collagraphs, and traced outlines of previous forms, become part of a moving whole. The use of interference pigments, and partially raised semi-transparent surfaces, exaggerate the extent to which even a slight change in light can alter the color and overall reading of these pieces. I am interested in this sense of animation, loss of control and interactivity. Leaving the solid wooden ground exposed, and basic materials simply found, allows my focus to shift from embracing the blunt quality of object, unadorned, almost falling flat, to the contrasting implications of volatility and mutation. From this, paradoxes emerge, such as the nature of structures, both clear and oblique.

The combination of my natural tendency to work independently, and the time constraints that result from living and working in New York, have led to my work developing in relative isolation. Now more than ever, I am trusting my original connection to materials and am leaning on my intuition to further my work. If I am to communicate accurately and with meaning, it is crucial that I also perceive what I am doing clearly, inside a broader critical context--to  better understand how my work is communicating to others  I see the dialogue provided by a challenging program and the possibility of connecting to even a few new people outweighing the reasons that kept me from applying in the past.

some recent notes:

  • How surfaces are attached (or not) is becoming more important to me
  • no fixed state?
  • implied movement in standing still
  • outline, scale, gap between can assume its own weight, be more lasting as part of a streaming language that's not isolated per object?
  • how to reconcile this with the depth that an individual painting, with all its impossibility, contradiction, complexity and layered time can do? I am interested in developing contrasting work in multiple directions.
  • outline as recording device -- most elementary form
  • some pins are functional some are not, using transparency and literal shadow in new way
  • some pieces boundaries and forms change with the light (no longer just color change?)
  • peripheral vision
  • the moving line-- when what was assumed arbitrary before comes into scope assumes new meaning
  • the physical construct we use to frame work --- structures build but also hide & falsify meaning
  • the maleablitliy and receptivity of paper