I make figurative-abstraction paintings in acrylic on canvas that examine how bodies, colors, and space register emotional states. Across my work I use layered form and color to stage relationships—between figures, between figure and ground, and between control and accident.

I am interested in the ways color and contour can enact tension: saturated reds and quiet whites can read as presence and absence; cool blues can hold or push back. My paintings present those dynamics as physical encounters rather than literal narratives. Influences range from expressionist and lyrical abstraction traditions to movement-based practices—music, dance, and memory shape how I think about rhythm, scale, and pause.

My process is additive and reductive. I build washes and glazes, alternate transparent and opaque passages, and refine edges with decisive brushwork and scraping. Silhouettes reappear and dissolve through reworking; overlapping planes both reveal and obscure. I treat outline as a tool for relational emphasis rather than anatomical accuracy, so forms remain suggestive and in motion.

Formally, I rely on contrast—temperature, saturation, and line—to create a lived atmosphere on the canvas. Repetition of shape and variation of scale establish a visual tempo that maps emotional shifts across a composition. The work functions as a sequence of moments: a leaning, a pull, a quiet return.

Ultimately, the paintings convey states of connection and separation with clarity and restraint. They reveal how small shifts in color and form can reconfigure an encounter, and they register feeling through the architecture of paint.