Statement

My paintings are of observed and imagined places that celebrate the beauty of everyday acts and the quiet rhythms of daily life. My use of decorative patterning and subtly off-kilter perspectives invites viewers into a conversation about the idea of home and the gap between idealized utopias and lived experience.

The way I make my work is a performance of slowness. Created through repetitive handcraft, my process reflects an intimate, intentional way of experiencing and translating my surroundings. Blending still life with landscape, often depicting a unification between the interior and exterior, spectators of my paintings become inhabitants of a world in slower motion. The paintings offer a hopeful vision and the possibility of a gentler way of living.

Helen Molesworth conveys my sentiments in her catalog essay for the Karma Gallery exhibition (Nothing but) Flowers when she writes:

"I persist in arranging [flowers] in vases, and placing them in tableaux. It occurred to me
recently that, when I did this, one of the things I was doing was wordlessly saying, ‘I believe
in today.’ Surely the first step toward a hopeful future, or hope for the future, is to commit
oneself to the day at hand. The flowers in their vases, assembled in a way to draw attention
and spark pleasure, are akin to the making of an altar, a devotional space dedicated to the
everyday. And can it be this simple quotidian act is a form of care? Might the act of arranging
the flowers be a small offering toward the repair of the great violence of the world?"

A sustainable utopia is found in established, well-worn paths. Painting the invisible substance of daily life is like arranging a bouquet — a small, visual reminder of the relationship between the spiritual and familiar earthly rhythms that keep us rooted and connected.