Artist Statement

I work in collaboration with nature. My practice operates between outdoor and indoor modes of painting, structured around a vital, shifting relationship between control and exposure. Rather than treating the surface as a passive space to be mastered, I approach the natural world as an active, co-creative partner. My work explores the threshold where human intention meets environmental unpredictability, capturing the physical memory of a specific time, place, and studio methodology.

To create these works, I utilize two distinct outdoor processes:

I. Material Harvesting & Pigment Processing

In this process, I harvest raw, organic elements directly from the landscape—such as sand, dirt, crushed shells, and botanical matter. By processing these gathered materials by hand into site-specific pigments, I ground each piece in the literal geology of its origin, turning the earth itself into the visual language of the painting. This is the process that I use in my project “The Abundance of Scarcity”.

II. Atmospheric Intervention & Direct Elements

In this separate process, I work directly with the elements of nature as active makers. Heavy 300-gram Saunders Waterford watercolor papers are taken on-site and left completely vulnerable to the environment. They are physically shaped, weathered, and eroded by rain, snow, wind, and ice. By letting natural forces wash away, fracture, or bleed the medium into the dense cotton fibers, I surrender artistic autonomy to the rhythm of the weather, inscribing duration and climate directly into the paper. This is the process that I use in my project “Weather Dependent”.

Indoor Works & Studio Restraint

Indoors, the process shifts from environmental negotiation toward immediacy and restraint. In the studio, I utilize direct painting methods that avoid overworking in the early stages, prioritizing a rigorous focus to preserve clarity, responsiveness, and the integrity of decisions within the image.

Together, these modes of making generate tactile records of endurance and change—collaborative artifacts that archive the poetic friction between the permanent and the ephemeral. This is the process that I use in my project “Superposition”