My primary medium is graphite and colored pencil. Much of my work is inspired by wabi-sabi, a philosophy that nothing is perfect, finished, or permanent. Thus, the experience of drawing is a focused, meditative process – to observe and capture subjects at a particular moment of interest.

Through the use of subtle layers, color depth, and a broad range of values, the composition emerges. I seek to achieve balance, the proportional relationship of abstract shapes into positive and negative space.

The sweep of pencil marks and how they flow together develops a strong framework, resulting in imagery that evokes a sense of calm and appreciation for the present and the unfinished imperfection of reality.

I think about paintings and I see pictures of different images and I try to convey that or what I see in a magazine or online into a painting. A lot of times I will first make a mockup of what I want to create using Photoshop and then I will paint that image on canvas. At times the painting takes a different path from what I started out thinking about painting.

Cryptids are recognized by all walks of life, each with their own story behind them. These animal-like creatures carry stories to teach lessons or give warnings in different cultures.

Normally recognized as supernatural or mythical creatures, their stories drew me to explore them as most people have heard of them or know about them. Being pulled to the odd or unusual myself, I find it intriguing that all cultures have their own versions of these cryptids. During my study, I found cryptids not only vary around the world but there are new cryptids being discovered today in the world of technology.

Choosing to work in 2D and 3D alludes to the question of their existence. 2D represented by copper and dry point etching gives the viewer a feeling of comfort in the sense they’re only images. Whereas the 3D sculptures place these entities within our world and space making the viewer think more about their existence. I chose to use plate manipulation to create a mysterious feel to the images. However, the sculptures are focused more on large dimensions and texture to create a lifelike feel of what it would be like to be face-to-face with one of these entities. Large scale creates a more in-your-face approach to introduce these beasts to our world, while the texture gives it a likeness to creatures we cohabitate with on a daily basis. All of these components challenge the viewer to question the existence of these legends as well as their own comfort with them.

Since forever women have been the subject of great art, but rarely were we allowed to create great art. As a female artist living in the 21st Century, I find great inspiration in the female icons of the past. Famous women from Marie Antoinette to Miley Cyrus, have served as profound sources of inspiration for me, due to their distinctive styles and unique spirits. In my art practice, I explore the contrast between the public portrayal of the women I admire and their true selves. My aim is to discover how the images of these influential women, given by pop culture, impact and shape my own artistic impressions of them. Just like the women I paint, I am an unconventional woman in the eyes of my society and with my art practice I want to invite viewers to look past the glittering images and see the depth and complexity of the women I paint, myself included.

Ultimately, my work serves as a reflection and exploration of this complex dynamic. While my intention is to showcase the vibrant and visually captivating image that pop culture has crafted around the women I idolize, I also remain very conscious of the underlying darkness that hides beneath the surface of their seemingly lighthearted images.

As a Finn, I grew up on satire, dark humor, and happy endings and that is well reflected in my work. At first glance, my cartoonish mixed media paintings may depict my subject’s pop culture image perfectly, which is usually colorful, ditzy, and lacking in substance, but I am actually satirizing our perceptions of my female heroines. We are all guilty of prioritizing a person’s image over the narrative. But whether the viewer understands this duality or not, I still want them to have a good time when viewing my artwork.

I choose to work with acrylics, rhinestones, and glitters because their vibrant hues and plastic textures are well suited for creating eye-catching artworks that are unique to me, and perfect for the subject matter.

Originally inspired by the literature of Simone De Beauvoir, I use surrealism to depict worlds where the female form is celebrated as both the subjective and the objective; the self and the other. Within the work, the hand of the creator comes into contrast with the creation itself in subtle moments that reveal my artist process –deliberately untouched canvas, unfinished figure sketches, moments that allow the viewer to complete the story, enter the narrative and contribute to the creation itself. Since the book of Genesis, the female form has been understood as the other, pulled from Adam’s rib, “…she is defined and differentiated with reference to man and not he with reference to her” (The Second Sex, Beauvoir). Confronting this ideology, I offer an alternative world, a multi-dimensional playground for the form to inhabit, create, and be created. Here, I celebrate, rather than define, nature’s complex duality. These worlds play with time and space, allowing the viewer to feel grounded in the sense of reality, while still lost in the navigation of the surreal landscape.

In this series, I use linear perspective to manipulate our understood measures of dimensionality. By integrating mirrors and long shadows, my recent work expands on my original exploration of ‘the self and the other’. While the mirrors directly pull the viewer into the piece, the figure’s long shadows add an element of time, a growing moment that captures the intangible nature of self-reflection.

This piece constructs worlds of tomorrow by reframing the duality of the human experience into a singular narrative –where the figure is not detached, but rather an integral part of the environment, shifting with our understood notions of the subjective and the objective. In essence, I seek to harness the feeling that we can and will be a part of something greater than ourselves.

My artistic practice is grounded in a simple yet powerful mission: to Do Good through Art. Every piece I create is both a celebration of natural beauty and a commitment to giving back—100% of the net proceeds from my work are donated to charitable causes.

Inspired by my travels—whether hiking the mountains of my home in Colorado, exploring National Parks, or venturing abroad—I seek to capture the quiet majesty of the landscapes that move me. My work often explores the interplay of light and shadow, the drama of skies at sunset, and the serenity of water in its many forms. From sweeping vistas to intimate glimpses of birds, animals, and wildflowers, each piece invites the viewer to pause, reflect, and reconnect with the natural world.

Soft pastels are my primary medium, chosen for their richness and immediacy, though I also work in watercolor and colored pencil to suit the spirit of each subject. My diverse collections reflect both a deep reverence for the outdoors and a belief in art as a force for positive change.

So join me in Doing Good (through) Art.

I prefer using the collage format to integrate associated images into a cohesive unit that is even more compelling because of the embedded story. Having been a playwright and technical writer, I am accustomed to delivering content with a message. So now, as a visual communicator, I continue to provide meaning via the structure of the collage format, wherein the four photos confirm, augment, or even contradict each other if warranted. I enjoy offering the richness that the multiplicity of images provides, along with the impact gained through their thoughtful positioning. Ultimately, I intend to have my work act as a doorway to the viewer’s own mental and emotional framework regarding the collection of images, perhaps finding their own very personal meaning in them.

Masquerade of the Ordinary explores identity as something playful, flexible, and unfinished. The painting gathers shoes, masks, jewelry, and feathers into a shared space, objects often linked to celebration and transformation, yet here they appear mid pause, as if caught between uses. Rather than signaling a completed performance, these items suggest experimentation. Identity is not fixed or polished. It is something tried on, rearranged, and enjoyed while still becoming.

I am interested in the quiet humor and pleasure embedded in everyday objects. Shoes hint at movement even when still. Masks exaggerate expression while offering protection. Jewelry sparkles with intention, memory, and small indulgences. Collected together, these elements feel less ceremonial and more conversational, like remnants of a good time that is not quite over. The masquerade here is not about deception. It is about permission to play.

The title reflects a balance between seriousness and lightness. Masquerade implies drama and artifice, while the ordinary grounds the work in routine life. By bringing these ideas together, I point to how much of daily existence involves subtle performance, often approached with curiosity, improvisation, and occasional joy. The deep blue ground acts as a stage but also a sandbox, a space where objects are elevated yet unburdened by narrative rules. Nothing has to be resolved. Everything is allowed to remain in progress.

My digital process supports this sense of exploration. I build forms through layered shapes and deliberate textures, borrowing from traditional still life while embracing the clarity and playfulness of the digital medium. Reflections and shadows are carefully placed, but stylization is welcomed. I am interested in how objects feel emotionally rather than how they behave realistically, allowing color and surface to carry mood and personality.

Masquerade of the Ordinary ultimately celebrates becoming rather than arriving. It invites viewers to consider identity as something assembled through small choices, experiments, and moments of fun that are often overlooked. The work honors the in-between state, where nothing is final, the costume is still being adjusted, and the joy lies in the act of trying.

The works I sent are related to one of my collections called (Ephemeral). With which I seek to illustrate the moments and emotions we go through in life. portraying life as a short path but full of decisions, and unexpected and unique moments for each person. As I already mentioned, I look for the greatest use of color in my work. I don’t want the colors to fight with each other, rather I like to create a world where they can coexist with each other. My work is traditional with the use of gouache. Gouache allows me to maintain the intensity of the colors and achieve the desired objectives even better. In all the paintings I deliver you can see how I apply vibrant moments but involving the emotions and personalities of each character.