My practice is rooted in contemporary painting and abstraction and explores how personal histories and shared narratives shape our experience of place. I am interested in navigation, mapping, and orientation, and in how we find our bearings physically, emotionally, and over time. Ideas of landscape, territory, and belonging recur throughout the work as ways of thinking about meaning as something lived and accumulated rather than fixed.
I hold a BA from the University of Pennsylvania and an MFA from the School of the Art Institute of Chicago, and I have exhibited internationally for over four decades. These experiences continue to inform a practice grounded in sustained looking, material sensitivity, and the slow unfolding of meaning.
I work through collation and layering, bringing together paint, ink, glass, resin, paper, and drawing. These layered surfaces create depth and transparency that echo historic maps, routes, and the gradual construction of knowledge. Portraiture and self-portraiture are integral to this process, approached not as static likenesses but as evolving sites of attention and recognition.
Light is central to my practice, functioning as a measure of time, a guide for looking, and a structuring force. I am influenced by early Italian painting, particularly its devotion to light, surface, and duration, where meaning unfolds through sustained observation rather than predetermined outcomes. In the studio, I think of myself as a shape-shifter in this older sense: attentive, responsive, and willing to let the work reveal itself through process.
In 2024–2025, I was one of eight artists invited to work at Benton End over the course of a year, the first artists to return there since the death of Cedric Morris. That experience reinforced my interest in cycles of time, seasonal change, and the value of patience, care, and openness in painting. Across my work, I aim to create spaces where inner and outer landscapes meet, inviting viewers to slow down, look closely, and find their own orientation.
