Two Faced Painting

For over a decade, my practice was rooted in contemporary portraiture—a meticulous study of the human form and the quiet emotions held within a gaze. However, I eventually found that the stories I wanted to tell could no longer be contained by the physical boundaries of a face. My work has since evolved into full abstraction. I have traded the literal anatomy of a portrait for the emotional anatomy of color, texture, and gesture. While my background in figurative art remains the foundation for my understanding of light and composition, my current work prioritizes a visceral, uninhibited connection with the viewer. I am no longer painting what a person looks like; I am painting how a moment feels.