I see this

wrapping the canvas frame

Elevate the substrate.

In this latest two-part miniseries, I have moved away from applying paint to stretched-cotton canvas opting instead for surfaces with inherent tactile/visual appeal triggering an optical tug-of-war by placing surface and paint on equal footing.

For part one, the existing 30″ x 40″ canvas frame has been wrapped with 8oz black faux leather and the paint used is metallic acrylic.

acrylic panel prior to paint application

Elevate the substrate.

Part two of this miniseries was inspired by luxury retail store display units. The painting surface is a highly reflective, color-infused smooth 12″ x 18″ acrylic panel with polished edging.

The use of metallic acrylic paint, also highly reflective, creates a dynamic polychromatic surface encouraging interaction as colors actively shift depending on one’s viewing angle.



This miniseries was inspired by the sights and sounds of summertime.

photograph of wheat-pasted wall


This miniseries was inspired by the wheat-paste street art found throughout New York City. I love how the random advertising visuals and torn type mix with drawings and graffiti. These evolving art pieces exist in a state of flux often at risk of destruction or removal. That urgency is what makes them seem so rightfully at home in the city.

For this miniseries I’ve scaled down to a 12″ x 12″ canvas size to elicit a more intimate visual space. The paint used is acrylic gouache which dries with a velvety, matte finish.

36″ x 12″ triptych painting in progress


This miniseries is based on the idea of transfer. In the early stages, the canvas panels are created as individual paintings. These canvas units are then combined together and worked on as a two (diptych) panel or three (triptych) panel painting.

In the final stage of the painting process, the panels are rearranged again and joined together relying on color transfers from canvas to canvas to create a sense of unity.

limited-edition silkscreen printed tote and messenger bag