




I've been watching people my whole life. Not casually — closely. Reading faces, tracking moods, trying to understand what's happening underneath what's being said. A lot of my paintings come from that hypervigilant watching.
The surrealism isn't stylistic so much as accurate. The imagery that makes it into my work often comes to me when I'm in between things - like when I'm driving, or my mind starts to wander, or I'm so focused on something that everything else fades away. I paint what comes to me in those moments. Mostly, it's mothers and children. Their bodies are often touching or strained, like they're feeling the weight of something. And then there's the natural world, always lurking just out of sight, trying to push its way in.
I work across a lot of media — acrylic, oil, gouache, egg tempera, watercolor, mixed media. The variety isn't accidental. I need the novelty, and each medium asks something different of me. Each one has its own unique challenges and requirements, and that's what keeps me excited.
I'm not drawn to sentiment. I'm drawn to the moment just before or just after — when something true slips through.
Meltdowns and insects. Wrestling matches and roadkill. I fold together the thoughtful and the absurd.




























