About the Work:

My paintings are built to be returned to.

They don’t resolve themselves all at once, and they aren’t meant to. Each piece changes depending on how long you look, how your eyes move, and how your brain tries to make sense of what it’s seeing. Over time, new relationships, movement, and depth emerge.

I begin each painting with a realistic image — something I genuinely care about and want others to spend time with. From there, I build layers of color, light, and mark-making that push perception while preserving realism. To avoid relying on habits or visual shortcuts, I paint much of the work upside down. This helps me break free from what my brain expects to see and allows the image to develop with more objective intention.

Color plays a central role in the work. I often use a rainbow palette not as decoration, but as a tool — a way to explore complexity, contrast, and connection. These color relationships engage depth perception and peripheral vision, creating subtle movement and spatial shifts that change as the viewer’s focus changes.

Some viewers choose to experience the work using ChromaDepth 3D glasses, which exaggerate the sense of depth by filtering color differently for each eye. While this can be a striking way to interact with the paintings, the work does not depend on the glasses. The paintings are complete on their own; the glasses simply offer one additional lens through which to experience them.

At its core, this work is about perception — and about the idea that what we think we see is only part of the story. Many people describe the experience of spending time with these paintings as grounding or centering, not because the work tells them what to feel, but because it gives them something complex enough to stay with.

The paintings are meant to change with you. Each time you return, something new becomes visible.