Hello! Congratulations on surviving 2025! There’s so much that happened in the world, my inner world, the travels and lessons.From wonderful to deeply piercing. From what I gathered it is how we react to the situations around us, the obstacles, the calls to do something, the warnings we used to easily ignore. To have accumulated so much stuff and art, I learned from a wonderful workshop this year for Artist Inc. how to edit down a body of work, how to define very complex visual experiences of creating art and turn that into words. That
I am a formally trained painter with lived depth, shaped by New York rigor and carried forward by earned tenderness. My work is intuitive because of skill and experience. Viewers can see the hand, the discipline, the compositional intelligence first… and then they’re pulled into something less named: movement, collective memory, the way emotion travels through color before language catches up.
My recent paintings are bold without being decorative, sensual without apology, vulnerable without collapse. The color is confident — layered, surprising, embodied.
My multi- media Project: Simulacra
My recent video works extend my painting practice into time, sound, and sensory layering. Built from digitally collaged public art imagery and self-generated audio, these pieces explore how perception fractures, overlaps, and reforms — particularly within states of heightened attention, distraction, and emotional intensity.
The visuals rely on symmetry, repetition, and mirroring as a way to suggest both order and disruption. Figures appear doubled, ornamented, and suspended between decorative surface and embodied presence. Color is intentionally lush and excessive — functioning as a physical force rather than a purely visual one.
Sound is composed as an ambient, layered environment: slowed beats, distorted and half-recognizable voices, and overlapping audio fragments that create a sense of confusion, immersion, and propulsion. Rather than illustrating the image, the sound destabilizes it — echoing internal experience, nonlinear thought, and the sensation of holding multiple inputs at once. I think of these works as inhabiting a space similar to the sonic experimentation of Revolution 9 — disorienting, rhythmic — not music, but psychological atmosphere.
Together, image and sound form an immersive field that reflects movement, collective memory, and the subconscious body. These works are less about narrative than about sensation: how it feels to perceive intensely, to oscillate between control and release, and to find pleasure inside complexity.
Watch a sample you can see it here SIMULACRA on YouTube.
This series marks an ongoing shift in my practice toward installation, video, and sound — with painting, sculpture, and public art operating as interconnected forms rather than separate disciplines.
Mirroring and symmetry as a structural language (doubling, reflection, confrontation)
Feminine figures that feel iconic rather than illustrative — devotional, mythic, historical, bodily
Ornamental patterning that flattens space, then reintroduces depth through color vibration
A palette that is lush, erotic, and destabilizing — not soothing, but alive
A sense of internal motion even in still frames (perfect for then taking stills and creating a body of paintings too further explore the concept of Simulacra.
12 videos ranging in 1:00 minute - 3 Minutes can be looped, projected, or displayed in digital mounted frame boxes on Pedestals or Wall