I paint in many styles, but every piece tries to speak the truth of its subject. Nature is always close at hand—its forms, its moods, its fragility—shaping the work as much as my own hand.
I shoot both digital and long-expired 120mm film, always looking for the same thing I chase in painting: the life, the beauty, and the quiet wonder of the natural world.
My linocuts lean into the rough and primitive. I embrace the unpolished edges and the beginner’s mistakes, letting the work carry its own energy and life.
I work mostly with found and self-shot Super 8 film, taking a deliberate detour from conventional storytelling. The films are raw, unpolished, and meant to be felt rather than explained.
My sculptures wrestle with the chaos of modern life, the impermanence of things, and the quiet strength of nature—often carrying a subtle critique of our environmental impact.
After graduating art college, I spent almost twenty years in digital interface design. It wasn’t traditional art, but I treated it with the same care and intention I bring to my studio practice.
Being the partner of a potter and parent of children has taught me patience… and the limits of shipping companies. Kintsugi, the Japanese art of repairing broken pottery with gold, reminds me that flaws and cracks can be beautiful—and that applies to life as much as to art.