My approach to painting is not so much calculated as it is improvisational. Illuminated by the visceral imagery of dreamscapes, my paintings permeate a desire to capture the space between the physical and abstract, a gap in time equivalent to a complete celebration of the physical form married to nature. My range of work communicates otherworldly emblems that extend beyond the physical human condition— as people examine the painted surfaces, I want them to easily access the texture of the earth, its smell and breath.

My body of work includes the medium of oil paint, as well as photography, film, and high definition digital media, as reference material. However, the idea behind my process is not to mirror imagery in the sense that photorealist painters do, but to capture a space between a high-definition world and fantasy, one that is allegorical in nature. With that thought, I prefer to keep with abundant detail, intense colors, and complex compositions in a naturalistic sense. My work is inherently influenced by the nineteenth century Pre-Raphaelite painters, in both process and product.

Like my predecessors, I enjoy exploring the depths of romanticism and keep away from creating imagery with an intention that it will be evaluated from an objective and technical perspective. My vision validates the emphasis placed on cinematic movement. In that sense, the themes for my paintings are ever evolving and I will always continue to paint the feminine as slipping away from photo-reality and into a fantasy. What is more, my work portrays people living in nature without malice, and that is what is most important to me, and perhaps more radical than the current trend for glamorized violence and destruction.