My work is inspired by my love of nature, travel, and the beauty I find in everyday objects. Primarily a colored pencil artist, I have enjoyed extending my artistry into other mediums. For the past several years I have explored East Asian brush painting. I like the contrast between the very slow process of creating a colored pencil painting layer upon layer and the spontaneity of brush painting where I try to convey the essence of a subject by using minimal strokes of ink and watercolor. My latest journey has been into the world of alcohol ink painting.

My eclectic style uses vibrant colors, light contrast, texture variations, and layers, often sometimes natural or reused objects as collage elements. I also use photography to capture multiple large paintings and inclusion of shadows and other features. My art captures a feeling at a moment in time, usually in a natural environment, often including elements such as the sky and ocean. I generally paint with acrylic on large canvas or boards in an outside environment.

My most recent theme “Dreams of a Girl” captures the dreams of any girl, any age, anywhere in the world, and of any background. I hope to inspire others to always dream and never give up as I have taught myself to do.

The Fire Keepers

In ancient civilizations, it was often women—especially elderly women—who served as the fire keepers. They were more than tenders of flame; they were cultural figures who embodied the transformative power of fire. As guardians of warmth, memory, and wisdom, they held space for community, continuity, and change. This exhibition reclaims that reverence. It insists that aging is not retreat, but expansion. Not decline, but revolution. With each passing year, we grow deeper into our power. With every line, we become more beautiful.

The Fire Keepers is a visual ode to the sacred strength and enduring beauty of women—women who wear their age not as a burden, but as a badge of radical evolution. In a culture obsessed with youth and denial, these portraits stand in defiance. They are declarations. They are testaments. Acrylic brush to canvas becomes memory to muscle—telling stories of lives lived boldly and resiliently. Each woman portrayed carries the marks of time: lines etched by laughter and loss, softness shaped by battles fought and boundaries drawn. This work is not about turning back the clock or freezing time. It is about moving forward—eyes wide open, spirits unyielding. To walk forward with strength, we must walk toward their wisdom. To shape the future, we must honor their presence.

Beauty is aging. Power is aging.
Let’s make wisdom powerful.
Let’s make aging visible.
Let’s honor their fire.

I am a visual artist living and working in Philadelphia. I work mainly in acrylics but increasingly incorporate mixed media and three-dimensional elements into my pieces. I am fascinated by patterns, and how they ripple, radiate, refract, bloom, interact, and cluster. My works allude to aerial views, cartography, architectural renderings, musical notation, urban-like densities, and other natural and man-made patterns.

My process mirrors that of my songwriting and music arranging, involving the repetition of a small selection of formal elements, subtle variation, the timbre of the color palate, rhythm, and randomization strategies.

More recent abstract geometric pieces, including painted sculptures, explore themes of nostalgia, anxiety, climate change, play, musicality, fragility, physical and psychic fragmentation, and allusions to impenetrable data, all reflective of, and perhaps counter to, accelerating planetary chaos.

I paint to give form to the unseen forces that shape how we live.

I grew up in New York City, and I have spent nearly a decade practicing law. That background is not incidental to my work. It is the work. I understand from the inside how legal systems, urban infrastructure, and institutional power operate on people’s lives, and I make paintings about what that actually feels like.
I work in mixed media on large-format cotton canvas. Oil, acrylic, charcoal, ink, pastel, paper, and plaster build up in layers across the surface. Beneath most works are pages from case law textbooks, legal notepads, receipt paper, and sticky notes. These materials are not decorative. They are evidence.

My collection, Urban Cartographies (2024 to present), maps the experience of moving through a city that depends on people while rarely accounting for them. Figures emerge outlined but unfilled. Lines trace pathways, detours, and fractures. I let texture and gesture carry the emotional weight that stems from my everyday life as an attorney and childhood experiences.

I am currently exploring abstract portraiture. Faces repeat, distort, and fragment as a direct rejection of systems that reduce people to categories.

A collection of work responds to the current political climate. As a painter and an attorney watching the structures I have studied come apart in real time, I have no interest in staying quiet. My anger is not a liability. It is where the work starts.

I work from my studio in DUMBO, Brooklyn. Works are placed privately with collectors. Studio viewings are by appointment.

I am a magical realism painter with a focus on figures, hybrids, whimsical, and the metaphysical. Life as it is and life as imagined. 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 narratives about life 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. 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.

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.

In my work as a healer, I work with clients in a myriad of ways with the idea of shifting energy. These energies are the ones that are no longer in operation, per se, but are still being carried around. In this body of work, my focus was to create and paint much like a visual diary. We are all ready at some time to Move On. The paintings start small, with each shift of energy, the color palette changes, as does the canvas size. I chose to work with the idea of a house as represented in this series as what we are intimate with. In painting #1, we see a female who is trapped and or has outgrown the current situation. In painting #2, the figure has moved out of the given situation, but her eyes are closed. In painting #3, we see a sense of Spirit acting as Guide with movement taking place, a willingness to leave the former reality. In painting #4, first feelings and sensations of growing, healing, self-love, and passion returning to the self. In painting #5, this is where the transformation now begins. Darker energies transform into colors; the heart chakra is shown on the main figure with the idea of pink and green, as this is the healer now working with inner selves. In painting #6, moving towards freedom, she has her hand on the house; she’s got a handle on it. In painting #7, she feels lifted by love, and in the last painting, she is now on top of it all. Total freedom and connection with the Light. I have named this series Movin’ On.

The theme of my artwork is: Bring Nature into your Home. My paintings reflect some aspects of nature. I paint in an impressionistic style. I like to use bold colors that sometimes become more important than the subject matter. I like to create work that has fewer details.

I would like viewers to use their imagination to draw their own conclusions about what the painting means to them. My goal when someone views my paintings, is to simulate awareness of how nature enriches our lives.

In the last three decades, I have been creating wall-mounted, cast resin, and aluminum sculptures combined with canvas and gold leaf, and exploring the computer as an art tool for creating digital artwork. All my life, I have loved to create art full of emotions and feelings, “soul,” with the satisfaction of fun. I am interested in the balance and composition of colors and objects rather than the reality of the items. The direction of the last two decades has been aimed at understanding and, through artwork, expressing the human struggle of emotions and adaptations. For the past ten years, I have been polishing my creative work in the Surreal-abstract style. The main motto of my artwork is: Just as in a good story, readers have space to create their own image; in a good picture, viewers can form their own account.

When I paint, I feel as though I’m unraveling the threads of emotions that words cannot reach. The canvas becomes a space where memory, vulnerability, and resilience come to life. I don’t strive to control the work; instead, I let the textures and colors guide me, allowing the painting to take on its own voice.

Each brushstroke feels like a dialogue—a quiet conversation with the cracks and crevices of human experience. I layer paint to echo the layers of our stories: fragmented, raw, and imperfectly beautiful. The act of painting is not just a process but a meditation, a way to confront and celebrate the moments that define us.

The narratives in my work are deeply personal yet universal. They invite viewers to step closer, to see themselves in the fractures and textures. Art, for me, is a way of repairing and connecting—a reminder that even in our most fragile moments, there is strength and beauty to be found.