About me

Studied at Pratt Institute. Artwork resides in Washington, DC, New York, Idaho, Washington, Minnesota, Virginia, Michigan, and Indiana. The work is driven by a simple but non-negotiable requirement: an ongoing attempt to live an intentional and truthful life, and to let the work reflect that as directly as possible.

This practice isn’t especially mysterious. I make paintings because I do, and because paying attention tends to turn into paint whether I plan for it or not. Over time, that attention has become method, and the method has become habit, and the habit has become the work.

Most of the work returns, again and again, to light and the way it refuses to behave politely around ordinary things. Fruit, flowers, rooms, quiet objects—things that don’t ask to be significant but become so anyway under observation. The goal is not transformation so much as interruption: a brief pause where something familiar becomes slightly harder to dismiss.

The influence of historical painting is less inspiration than ongoing negotiation. The Impressionists understood light as instability. Turner pushed atmosphere to the edge of dissolution. Vermeer built stillness so precise it feels almost architectural. Wyeth held tension in restraint. Klee allowed structure to loosen without collapsing. Contemporary painters continue to prove there are still honest ways to insist on painting in a world that doesn’t necessarily need it.

Damon, Victoria, and Ben have all contributed in various ways to keeping the work honest—through encouragement, pressure, humor, and the occasional blunt correction. There are others in that category as well: people who expect better work, or at least don’t let things slide for too long.

That’s the arrangement. The work continues, with varying degrees of clarity, discipline, and success.