Soonest Mended • 50x62"
Soonest Mended • 50x62"

Acrylic on canvas • Available through Barba Contemporary, Palm Springs

 

The title of this painting refers to the idiomatic saying "Least said, soonest mended" which means that a difficult situation will be resolved more quickly if there is no more discussion of it. It is also the title of a poem by John Ashbery.

Spring (murmuration) • 48x60"
Spring (murmuration) • 48x60"

Acrylic on canvas • 2017 • Available through Barba Contemporary, Palm Springs • Click here to buy print

This painting is part of my Murmuration Series, which refers to "the aerial ballet" performed when hundreds or thousands of birds fly in swooping, intricately coordinated patterns through the sky. A lot of my paintings are grayscale, and I wanted this painting to feel warmer (like the first days of Spring) while still working primarily with cool colors.

Cartagena • 60x72"
Cartagena • 60x72"

Acrylic on canvas • 2018 • Available

More Than Anything • 90x72"
More Than Anything • 90x72"

Acrylic on canvas • 2018 • Available through Slate Art Consulting

December • 60x70"
December • 60x70"

Acrylic on canvas • 2017 • Available through Beledor

Twilight (murmuration) • 84x58" 
Twilight (murmuration) • 84x58" 

Acrylic on canvas • 2017 • Available through Beledor

Click here to buy print

This painting is part of my Murmuration Series, which refers to "the aerial ballet" performed when hundreds or thousands of birds fly in swooping, intricately coordinated patterns through the sky. The time of day in the title is left intentionally ambiguous, so the viewer can determine if it is morning or dusk.

Something I've Been Meaning To Tell You • 96x72"
Something I've Been Meaning To Tell You • 96x72"

Acrylic on canvas 2017 • AVAILABLE

Concrete • 48x60"
Concrete • 48x60"

Acrylic on canvas • 2017 • AVAILABLE

"There is a very nice idea from the Gutai group, a Japanese group of artist, where they said 'When this chair degrades, it's actually the chair's revenge for being taken out of its natural state.' All of these materials, including ourselves, are constantly in a state of either growth or degradation." - Artist Sarah Sze

I have been thinking a lot lately about the transformation and breakdown of materials, specifically cement. It starts as a powder, becomes nearly indestructible when dry, but inevitably cracks over time... or sometimes quickly when water and fluctuating temperatures are introduced. Holes in roads are caused when water seeps into the pavement, freezes, and expands. Something as soft and delicate and fragile as water has the power to break the unbreakable.

All The Best • 58x62"
All The Best • 58x62"

Acrylic on canvas • 2018 • AVAILABLE • $5500

To Be Determined • 22x60"
To Be Determined • 22x60"

Acrylic on canvas • 2017 • AVAILABLE

Someone I Used To Know • 60x60"
Someone I Used To Know • 60x60"

Acrylic on canvas • 2018 • Available

Solstice • 60x90"
Solstice • 60x90"

Acrylic on canvas • Available through Barba Contemporary, Palm Springs

The title of this painting is intentionally left ambiguous; it is not clear whether the painting is the darkest day or lightest day of the year. My work deals with opposites and I wanted to do a very large painting that feels both warm and cold at the same time.

Unofficial Transcript • 48x60"
Unofficial Transcript • 48x60"

Acrylic on canvas • Available through Barba Contemporary, Palm Springs

 

SOLD • Murmuration • 36x60"
SOLD • Murmuration • 36x60"

Acrylic on canvas •  2017

The title refers to "the aerial ballet" performed when hundreds or thousands of birds fly in swooping, intricately coordinated patterns through the sky. It's a defense mechanism; the birds strive to put distance between themselves and their predator. The movement of the flock is never led by an individual bird, but is governed by all of the birds. 

Attrition • 96x66"
Attrition • 96x66"

Acrylic on canvas • 2017 • AVAILABLE through DZINE Gallery

Saudade • 54x80"
Saudade • 54x80"

Acrylic on canvas • 2017 • AVAILABLE

The title for this painting refers to a "deep emotional state of nostalgic or profound melancholic longing for an absent something or someone that one loves. It is an emotional state that can evoke happiness, excitement, and pleasure for something that has happened while simultaneously cause sadness and suffering knowing it will never happen again."

Happiness and sadness at the same time.

BCN/CDG/LAX/SAN • 72x52"
BCN/CDG/LAX/SAN • 72x52"

Acrylic on canvas • Available through Barba Contemporary, Palm Springs

The title of this painting refers to airport codes. When I was 20, I went to Europe alone. I rode trains across France and Spain, and the landscape reminded me of California. Several months later, I traveled via train from Los Angeles to San Diego. The passing scenery outside now recalled Barcelona. These parallel images of distant places lingered in my mind; I did not do the first (and smaller) version of this painting until a decade later.

Last Days of Methuselah • 60x48"
Last Days of Methuselah • 60x48"

Acrylic on canvas / 2017 / Available through Healdsburg Center For The Art

SFHP II • 48x60"
SFHP II • 48x60"

Acrylic on canvas • Available through Beledor • $7980

Jamais noir et blanc • 60x78"
Jamais noir et blanc • 60x78"

Acrylic on canvas / 2016 / AVAILABLE

There is very little black in this painting. What you think you see as black is actually a mix of blue, brown, red, and purple. 

 

The Mundanity of Excellence • 60x72"
The Mundanity of Excellence • 60x72"

Acrylic on canvas / 2016 / AVAILABLE

 

The title is from an academic article that examines excellence amongst Olympic swimmers. The author surmises that innate talent is nonexistent. Instead, excellence stems from deliberate and methodical practice. Nothing is random. The banality & repetition of the distinct dots of color in this painting reflects this concept. Furthermore, it is indicative of how I feel about being an artist and improving. 

 

 

Ascetic • 60 x 96"
Ascetic • 60 x 96"

Acrylic on canvas • 2017 • AVAILABLE

Measuring Sand • 66 x 80"
Measuring Sand • 66 x 80"

Acrylic on canvas • 2017 • AVAILABLE

into the fire • 46x68"
into the fire • 46x68"

Acrylic on canvas • 2016 •AVAILABLE THROUGH SLATE ART CONSULTING

The title refers to the idiom "Out of the frying pan and into the fire" or to go from a bad situation to one that is much worse. 

4AM • 96x64"
4AM • 96x64"

Acrylic on canvas • 2017 • AVAILABLE

Stratification • 64 x 90"
Stratification • 64 x 90"

Acrylic on canvas • 2016 • AVAILABLE

Stratification refers to a system or formation of layers, classes, or categories; it is the state of having many layers.

Casimir Effect • 62X84"
Casimir Effect • 62X84"

Acrylic on canvas / 2016 / AVAILABLE THROUGH SLATE ART CONSULTING

In physics, the Casimir Effect states that there is an attractive force between objects that are in proximity to each other. This painting is about feeling an inexplicable attraction to a person in their presence. 

Ship of Theseus • 84x62"
Ship of Theseus • 84x62"

Acrylic on canvas • 2017 • AVAILABLE

Catalyst Reaction • 72x54"
Catalyst Reaction • 72x54"

Acrylic on canvas •AVAILABLE

March • 72x72"
March • 72x72"

Acrylic on canvas • 2017 • AVAILABLE through Beledor • $10,100

November • 48x60"
November • 48x60"

Acrylic on canvas • 2017 • AVAILABLE

before the moon • 58x72"
before the moon • 58x72"

Acrylic on canvas • 2016 • AVAILABLE

The title is taken from a line in the poem XXXVIII by e.e. cummings

Invisible Cities (IV) • 36x60"
Invisible Cities (IV) • 36x60"

Acrylic on canvas / 2016 / AVAILABLE THROUGH CAPSTONE ART

SFHP (I) • 48x72"
SFHP (I) • 48x72"

Acrylic on canvas / 2016 / AVAILABLE THROUGH CAPSTONE ART, LOS GATOS

This work and its title is based on the water near my studio at San Francisco's Hunter's Point. When I started this painting, I had recently seen Monet's waterlilies in an exhibition. I bought the postcard to send to a friend. I put the postcard in my studio but never sent it. I didn't realize it at the time but the colors and brushstrokes of this painting were heavily influenced by Monet.

SOLD • The Sound of Absence • 80x60"
SOLD • The Sound of Absence • 80x60"

Acrylic on canvas • 2016

Invisible Cities II • 30x24"
Invisible Cities II • 30x24"

Acrylic & epoxy on canvas / 2016 / AVAILABLE

The title refers to the book by Italo Calvino that describes cities framed in a conversation between Marco Polo and Kublai Khan.

 

Complexity Theory • 40x40"
Complexity Theory • 40x40"

Acrylic on canvas / 2016 / AVAILABLE through Simone Beckett Gallery, Los Gatos

Manifestation • 60x40"
Manifestation • 60x40"

Acrylic on canvas / 2016 / AVAILABLE

Impermanence I (me me me) • 48x36"
Impermanence I (me me me) • 48x36"

Acrylic on canvas / 2016 / AVAILABLE

In the Impermanence series, the word “me” is repeated throughout the painting. When written in cursive and without spaces, the word “me” loses its significance. It is simply another aesthetic element and another layer. 

I incorporated text into my paintings as a way to bridge the gap between painting and writing. People tell me they cannot draw. Yet in my mind, drawing, painting, and writing all require practice, not creativity. I see drawing and painting as an extension of handwriting. Each individual’s handwriting is highly unique. 

The “me” in the paintings is not obvious at first. Although the repetition of the word “me” could be interpreted as narcissistic, my intention is to reflect upon the woman’s role as caretaker and putting others first. It is also indicative of the anxiety women have when speaking their mind for fear of disappointing someone or being viewed negatively. The choice of “Impermanence” for this series is therefore intended to highlight the concept that this self-sacrificing behavior of women can be changed.

Impermanence II (me me me) • 48x36"
Impermanence II (me me me) • 48x36"

Acrylic on canvas / 2016 / AVAILABLE

In the Impermanence series, the word “me” is repeated throughout the painting. When written in cursive and without spaces, the word “me” loses its significance. It is simply another aesthetic element and another layer.

I incorporated text into my paintings as a way to bridge the gap between painting and writing. People tell me they cannot draw. Yet in my mind, drawing, painting, and writing all require practice, not creativity. I see drawing and painting as an extension of handwriting. Each individual’s handwriting is highly unique.

The “me” in the paintings is not obvious at first. Although the repetition of the word “me” could be interpreted as narcissistic, my intention is to reflect upon the woman’s role as caretaker and putting others first. It is also indicative of the anxiety women have when speaking their mind for fear of disappointing someone or being viewed negatively. The choice of “Impermanence” for this series is therefore intended to highlight the concept that this self-sacrificing behavior of women can be changed.

Impermanence IV (me me me) • 24X48"
Impermanence IV (me me me) • 24X48"

Acrylic on canvas / 2016 / AVAILABLE

In the Impermanence series, the word “me” is repeated throughout the painting. When written in cursive and without spaces, the word “me” loses its significance. It is simply another aesthetic element and another layer. 

I incorporated text into my paintings as a way to bridge the gap between painting and writing. People tell me they cannot draw. Yet in my mind, drawing, painting, and writing all require practice, not creativity. I see drawing and painting as an extension of handwriting. Each individual’s handwriting is highly unique. 

The “me” in the paintings is not obvious at first. Although the repetition of the word “me” could be interpreted as narcissistic, my intention is to reflect upon the woman’s role as caretaker and putting others first. It is also indicative of the anxiety women have when speaking their mind for fear of disappointing someone or being viewed negatively. The choice of “Impermanence” for this series is therefore intended to highlight the concept that this self-sacrificing behavior of women can be changed.

SOLD - Invisible Cities • 36x60"
SOLD - Invisible Cities • 36x60"

Acrylic on canvas / 2016 / SOLD

The title refers to the book by Italo Calvino that describes cities framed in a conversation between Marco Polo and Kublai Khan.

 

SOLD • What you know, you know (demand me nothing) • 60x80"
SOLD • What you know, you know (demand me nothing) • 60x80"

PRINTS AVAILABLE - Click here to buy

The title is taken from Iago's last lines is Shakespeare's Othello. At the end of the play, chaos ensues yet there are no logical explanations for Iago’s behavior. The painting is a meditative reflection on powerlessness and how when faced with the inexplicable, we must search within ourselves for the answers.

SOLD • Invisible Cities III • 24x30"
SOLD • Invisible Cities III • 24x30"

Acrylic and epoxy resin on canvas / 2016

The title refers to the book by Italo Calvino that describes cities framed in a conversation between Marco Polo and Kublai Khan. 

SOLD • Not Fate, Not Luck, Not Serendipity • 56x84"
SOLD • Not Fate, Not Luck, Not Serendipity • 56x84"

PRINTS AVAILABLE - Click here to buy

This painting and its title refer to fleeting moments that inadvertently shape our lives. In chaos theory, these small changes that result in large differences are known as the butterfly effect. In our everyday lives, is not fate, not luck, not serendipity, not chance, not coincidence, but a combination of all of the above.

SOLD - Impermanence • 72x60"
SOLD - Impermanence • 72x60"

Acrylic on canvas / 2016

SOLD • Broken (redwhiteblue) • 48x36"
SOLD • Broken (redwhiteblue) • 48x36"

Acrylic on canvas / 2016 / AVAILABLE

The title refers to the 2016 Presidential election.

SOLD • Impermanence (moi) • 40X30"
SOLD • Impermanence (moi) • 40X30"

Acrylic & epoxy resin on canvas / 2016 / AVAILABLE

In the Impermanence series, the word “me” is repeated throughout the painting. When written in cursive and without spaces, the word “me” loses its significance. It is simply another aesthetic element and another layer. 

I incorporated text into my paintings as a way to bridge the gap between painting and writing. People tell me they cannot draw. Yet in my mind, drawing, painting, and writing all require practice, not creativity. I see drawing and painting as an extension of handwriting. Each individual’s handwriting is highly unique. 

The “me” in the paintings is not obvious at first. Although the repetition of the word “me” could be interpreted as narcissistic, my intention is to reflect upon the woman’s role as caretaker and putting others first. It is also indicative of the anxiety women have when speaking their mind for fear of disappointing someone or being viewed negatively. The choice of “Impermanence” for this series is therefore intended to highlight the concept that this self-sacrificing behavior of women can be changed.