Here There, 2016            
Acrylic on canvas, 
each 30 x 30 cm (12 x 12 inches) framed

The positive/negative exchange of the two panels subtly signals the difference between physical space and emotional distance with the presence of the letter “T” in the core word “here”. Similarity and difference are essential in subjective relationships and a central theme in this artwork.
Peace Please (silver), 2016    
Acrylic on canvas
170 x 110 cm (67 x 43.5 inches)

The large smooth matte field of silver paint becomes uneven and rough as it reaches the textured raw canvas revealed at the edges. Somewhere between an advertisement and an illuminated manuscript, the words in white urge for a calm, yet to be achieved.
300 Mercer, 2019
Acrylic, linen, wool, felt, raw silk, on canvas 
110 x 110 cm (43.5 x 43.5 inches)
Panopticon, 2017
Acrylic, paper, linen, raw silk, on canvas
170 x 170 cm (67 x 67 inches) 
Tomorrowlessness, 2015        
Acrylic on canvas  
170 x 170 cm (67 x 67 inches)

A word that does not exist in an english dictionary is set in a field beside a seemingly spontaneous painted gestures. These interwoven earthy brown curves are in fact calculated elements of Pythagorean spirals. Standing between historic influences and a blue sky promise for the future, this word conversely encourages us to focus on today, in other words, seize the day.
Thoughtlessness, 2015
Acrylic on canvas  
170 x 170 cm (67 x 67 inches)
Something Good, 2017        
Acrylic on canvas
110 x 110 cm (43.5 x 43.5 inches)
eclipsed ellipse, 2017
Oil, acrylic, gouache, spray paint on raw canvas
15 canvases, each 60 x 60 cm (24 x 24 inches)
approx. 200 x 340 cm (78  x 135 inches)
Linguine, 2017
Acrylic on canvas
170 x 170 cm (67 x 67 inches)
Blue Atmosphere, 2017 
Acrylic on canvas
110 x 110 cm (43.5 x 43.5 inches)
Milk & Butter, 2013        
Acrylic on canvas  
each canvas is 170 x 170 cm (67 x 67 inches)

An exploration of duality and transformation are central themes when an unexpected collision can cause something simple to be changed into something complex and entirely different. Milk & Butter, for example, takes the mundane, often mindless gestures of spreading butter on toast and spilling milk on the kitchen floor creating two mirror images that first seem to connect closely with each other. But the textures of the paintings express completely opposite states the flat fluid form of natural milk (or cream) and the thick sculptural shape of the same substance after it has been whipped into synthetic butter. Pairs of simple forms like these can reveal and embrace contradiction and show us how we can be both grounded in and disconnected from our own experiences.
Sigh, 2014                
Acrylic on canvas 
170 x 110 cm (67 x 43.5 inches)

The single, candy colored word in block letters is turned on its side and exaggerated by scale, disconnected from its expression of sadness or disappointment. An ambiguity between sorrow, a sigh of relief or mere complaisance is highlighted in the contrast.
Liar, 2014                
Acrylic on canvas 
170 x 110 cm (67 x 43.5 inches)
​​​​​​​
Pink Splash, 2013
Acrylic on canvas  
170 x 170 cm (67 x 67 inches)
Tangled in the Pleats, 2013
Acrylic on canvas
110 x 110 cm (43.5 x 43.5 inches)
Battleship, 2013
Acrylic and metal on raw canvas  
110 x 170 cm (43.5 x 67 inches)
Back to Top