Magical realism and the study of light are the easiest ways to express in words the visual effect of my work. By bringing dreams to the forefront, my art will create a spark of an idea or trigger a memory for the viewer.
Each piece starts from a personal experience or a dream, with the intention of invoking an emotional response while delivering insight to those who spend a little time looking.

Each image will draw you in and expose a deeper purpose for you, even though the “meaning” you take from an image may be slightly different for the next person.

With the intersection between art and craft as its foundation, my work evolves through the honing of craftsmanship, developing techniques, and expanding the materials to apply them. As my art practice traverses across these aspects, it remains closely tied to my background.

I grew up in or near the water all my life with sailing as one of my greatest passions. The fluid forms in many of my sculptures combine the natural movement of wind and water with my career as a craftsman and boatbuilder. I treat every piece as an opportunity to highlight its individual component. One work creates a potential for another in unexpected ways.

My art is a continuation of my craft removed from restriction. All my work is the manifestation of discovered potential for techniques and materials through a dedication to craftsmanship.

I am a magical realism painter with a focus on figures, hybrids, whimsical, and the metaphysical. I explore dreams, meditations, and the cosmos. My studio, I have come to understand, is a work in progress, sort of like a provocative daydream. I seek to discover the soul and spirit of what I am engaged with, making visual commentary in the now moment. In my work as a channel/healer, I often experience people in the most intense times of their lives, both in pain and joy. I have learned to draw upon this, creating narratives reflecting personal growth in my paintings. I am interested in the complexity of mysticism, spirituality, healing, and otherworldly explorations. I share stories about my personal life experiences, which can remind me that my work is a visual diary.

Rather than subscribe to a particular icon, subject, ideology, or style, I prefer not to be limited. I start with large brushes, allowing for a free-form “gliding” over the canvas. In that way, it’s easy to feel that my process is like an open-eye meditation. I point my brush in the direction to capture the essence, the soul of my subjects. Perhaps to give the viewer a sense of connection, a sense of timelessness, to enter the art and be part of it. I like to think of what I do as outrageous, spontaneous play with the Unseen, to make the Seen. I am in constant dialogue with the muse to discover what’s next, to listen. In that way, my work feels less controlled.

I am inspired by Guillermo Lorca, Odd Nerdrum, and John William Waterhouse, who seek to tell stories within their art. And finally, I am forever inspired by Pierre-Auguste Renoir and Berthe Morisot.

In art, I hope to bring visual elements together in surprising ways, letting them impact each other, and form solutions not previously imagined. Oil, acrylic, gouache, ink, wax, and paper are the building blocks – and I often highlight the “scraps” – the materials typically left behind or thrown away.

In this way, my work attempts to capture what we toss aside, forget to see, or have decided is not of value. For me, this process reinforces my feelings about our planet, and the struggle to stay in reality about the climate crises that is, and will, impact every living organism.

My artistic work is my attempt to engage with the unfolding climate catastrophe and the misuse of nature and each other. I strive to bring the range of our vulnerabilities, complexities, and diversity into the canvas imagery – covering the broad swath of feelings and the ways we connect, living on a shared earth, provoked by our planetary upheaval to come together in ways we had not known was possible.

This work is made in the “Age of Anxiety” where truth and lies are indistinguishable, issues and attitudes are binary, and the perils of conflict and intimacy result in the separation of the self from the physical.

The images reflect our anxious world through a process of digital art, photomontage, and image sampling. These visual narratives are sojourns where time and memory, feelings and perspectives, manifest as physical places or situations showing the “Essentia” – the world as it really is.

My goal as an artist is the same as my goal as a human — connection. I work to find the place where we all meet; that place where our differences recede, and we can settle in. That’s why I draw, to find that snapshot moment where someone can look at my art and go, Oh, yes. I know that feeling.

My artistic practice centers on portraiture—on drawing out the unseen essence of a subject and translating it through the delicate control of graphite. I explore the quiet power of detail—each mark is an invitation to slow down, to look closer, and to witness what is often overlooked. Every drawing is a form of deep listening, an act of attention that honors the emotional and psychological presence of the individual.

I believe hyperrealism, when pursued with discipline and sensitivity, becomes more than a replication of the visible world—it becomes a mirror, a bridge, and sometimes, a wound made visible. I’m fascinated by the complexity of the human face and the subtle interplay of light, texture, and expression that gives a portrait its emotional charge. As a psychotherapist, I’m naturally attuned to nuance, which shapes my artistic philosophy: that realism can reveal as much about the internal world as the external one. It allows me to build tonal depth slowly, almost sculpturally, honoring the patience, presence, and attention each subject deserves.

My style has evolved over the last eight years to a refined form of realism that balances technical control with expressive intent. I see art as a language, and my goal is to create a sense of atmosphere and feeling. I’m currently exploring new directions, including the integration of charcoal for its expressive depth and contrast. I’ve just completed my largest piece to date—a graphite portrait measuring three feet tall and two feet wide—which has expanded both my physical and emotional engagement with the medium, allowing space for story, intimacy, and connection.

My goal is to create drawings that don’t simply replicate life but evoke it—quietly, powerfully, and with honesty.

My work in acrylic and dry pigment appears visually to be a fusion of fresco and encaustic techniques. The marks have their own presence independent of figurative imagery and are an expression of creative energy. Originally inspired by hobo iconography, I’ve developed a vocabulary of marks that play with rich forms and symbolic references competing on the painting’s surface like participants in a contentious visual debate. The composition emerges organically as random marks gel into clusters of rendered dilemmas. The marks become entanglements… a melee of forms, often whimsical, occasionally raw, and visceral. Moments of action and stagnation – you must have both to reach the viewer’s nonverbal collective unconscious, which in turn, provides the observer an encounter with angst, and an opportunity to ponder. Through dissonance, I aspire, struggle, reconcile and proceed forward. Create then reject. Rebuild, reject then create again.

My work in fine arts has principally been in 2 classes of abstract paintings: oils and water-based paints. However, I have completed numerous works in the drawing. I focus on color, texture, methodology of delivery, and composition. In composition, I am interested in positive space and negative space as well. I believe the painting is a manifestation of my emotional state of both conscious and unconscious feelings.

The works I have entered for this show center on the theme “Hello Tomorrow”.
The abstract painting “The Woods” has the color green and raised impressions of trees underneath as its predominant themes. With global warming upon us, the rebuilding of our forests is a part of the long-term solution to this problem.

I sew to ground myself. It is said that when you sew, you don’t have enough attention left over to monitor how your body feels. This puts your mind and body into a state similar to that of meditation.

My designs are inspired by society and the disaffected people who gather in groups to express their frustrations at their lack of fair treatment. My work is simply Newton’s 3rd law in action. “For every action, there is an equal and opposite reaction”.