It’s no trompe-l’oeil, it’s just my love of texture and color. 

Ever since I was a kid I’ve always been drawn to objects and portraits: forms that feel familiar yet hold endless possibilities. Over time, that fascination has pushed me to create montaged compositions, letting shapes collide and settle into new tectonics on the canvas. My process moves fluidly between traditional sketch-and-color techniques and more experimental approaches: oil layered with found objects like dried roses and torn paper, building textures that lift the work off the surface and into three dimensions. Contrasting colors and irregular geometries guide the way I construct figures. Bold hues often sit shoulder-to-shoulder with softer tones, a dynamic that has followed me since my earliest paintings. My playfulness with mixed media comes from the same place as my architectural curiosity. It's an ongoing belief in cross-disciplinary thinking for me. Honestly, architecture and art speak to each other constantly in my practice; each helps me understand the other. That’s why I’ve always gravitated toward textured, diagrammable paintings that somehow reveal how they’re made, piece by piece.​

One of my professors once told me that my “gestures are infinite, never seeming to cease. I saw him working day and night, producing such beautiful pieces at such a young age. His methodology of depicting subject matter with lines and colors is like watching an orchestra.” I carry those words with me. They remind me that what drives my work is not just technique, but the rhythm and persistence behind it. It's my desire to understand what I’m looking at by building it, layer after layer, until it speaks back.

​

On this page, I'm showcasing a few of my early paintings that represent the evolution of my style. They're still in an exploratory stage, but I enjoy creating them both for my private clients and for my own personal work.