Murmuration • 36x60"
Murmuration • 36x60"

Acrylic on canvas / 2017 / AVAILABLE THROUGH SLATE ART CONSULTING

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 used when a falcon approaches the pack; 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. Scientists recently found that starlings coordinate movement with their seven closest neighbors.

AVAILABLE THROUGH SLATE ART CONSULTING

Attrition • 96x66"
Attrition • 96x66"

Acrylic on canvas / 2017 / AVAILABLE

Saudade • 54x80"
Saudade • 54x80"

Acrylic on canvas / 2017

The title for this painting is a Portuguese and Galician term that has no direct translation in English. The concept refers to a prolonged, melancholic nostalgia for something or someone absent. 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. It is happiness and sadness at the same time.

Something I've Been Meaning To Tell You (Triptych) • 30x72" / 36x72" / 30x72"
Something I've Been Meaning To Tell You (Triptych) • 30x72" / 36x72" / 30x72"

Acrylic on canvas / 2017 / AVAILABLE through Barba Contemporary Art, Palm Springs

 

Measuring Sand • 66x80"
Measuring Sand • 66x80"

Acrylic on canvas / 2017 / AVAILABLE

4AM • 96 x 64"
4AM • 96 x 64"

Acrylic on canvas • 2017 • AVAILABLE

Ascetic • 60x96"
Ascetic • 60x96"

Acrylic on canvas / 2017 / AVAILABLE

March • 72x72"
March • 72x72"

Acrylic on canvas / 2017 / AVAILABLE

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

Acrylic on canvas / 2017 / AVAILABLE

Twilight (Murmuration II) • 84x58" 
Twilight (Murmuration II) • 84x58" 

Acrylic on canvas / 2017 / AVAILABLE

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

Acrylic on canvas / 2017 / AVAILABLE THROUGH DZINE GALLERY

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

Acrylic on canvas • 2017 • AVAILABLE

Cement • 48x60"
Cement • 48x60"

Acrylic on canvas / 2017 / AVAILABLE THROUGH DZINE GALLERY

"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.

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

November • 48 x 60"
November • 48 x 60"

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. 

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

Acrylic on canvas / 2016 / AVAILABLE THROUGH DZINE GALLERY

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. 

 

SFHP II • 48x60"
SFHP II • 48x60"

Acrylic on canvas / 2016 / AVAILABLE

Solstice • 60x90"
Solstice • 60x90"

Acrylic on canvas / 2016 / AVAILABLE THROUGH SLATE ART CONSULTING

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. 

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

Acrylic on canvas / 2016 / AVAILABLE THROUGH CAPSTONE ART

Incertitude • 48x60"
Incertitude • 48x60"

Acrylic on canvas / 2017 / AVAILABLE

Stratification • 64x90"
Stratification • 64x90"

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.

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

Acrylic on canvas / 2016 / AVAILABLE

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. 

 

 

SFHP, 48x72"
SFHP, 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.

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

Acrylic on canvas / 2016 / AVAILABLE

 

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

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

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 • Spain • 60x84"
SOLD • Spain • 60x84"

Acrylic on canvas / 2015 / SOLD

This commission for a private collector was based on an earlier, smaller work from 2009.

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.