These paintings are hanging at Rockmill Tavern in the Brewery District in Columbus, Ohio. Created April 2020.

This work comes from a place of navigating a new realm of process. We all have been affected by this worldwide pandemic in one way or another, and my personal questions and inquiries came through this new work. While it’s contained, there is still no boundary. What defines? What will define and how does it happen? There’s a clear sense of human touch, the trace of my hand, a part of our bodies that is now regulated to be sanitized, gloved in latex, and not to come near our faces. What does touch mean now? It has become a lot more important, a lot more pondered on, a connection that people are missing. Can you connect with me by seeing the movements my hand made on these papers? We are forced to redefine new ways of connecting with each other - both physically and emotionally. This work contemplates what connection means, an idea of how to achieve it, and has served as a visual journal for my own new avenues for connection. What does this new mode of connection look like? And how do you navigate figuring that out? I hope this work sparks conversation about what this means to each of us.

I participated in the 5th Annual Painting Residency in Tao Hua Tan, China. This was a 3 week residency in a very small, remote town about 6 hours West of Shanghai. I focused on completing 6 oil paintings for the Hefei Museum of Art. All 6 paintings stayed in China.

I was invited to create an installation in the garage of a community of artists.

These paintings are the result of my first semester in a Master’s program. I struggled a lot in finding a unique “style” of painting, but everything I tried always involved water. These are my abstract interpretations of songs, feelings and passions that I experienced through the last few chaotic months of 2018.

This installation stemmed from the idea of storage and how to efficiently store paintings to take up the least amount of space possible. I find myself faced with this conflict a lot. I’ve been making paintings that are around 3’ minimum on each side. My solution became a temporary version of this installation in my studio.

This work also questions the idea of the frame and its deconstruction.

This painting was commissioned by a local architecture firm, GreenbergFarrow. They were renovating this space before they moved into it and wanted a custom piece to match the colors they had already picked out. The idea behind the dripping was to create an ethereal environment when close up, but ultimately become a statement from far away. The density anchors the eye while the lighter areas allow it to wander freely through the winding layers.

8’x8’

Acrylic Paint and Water on Canvas