I have been a visual storyteller my whole life, and professionally for over two decades in New York City’s branding and advertising world. I am classically trained in painting, sculpture, photography, and design, and that traditional foundation continues to shape every aspect of my practice, from composition and material choice to scale and execution.

My studio practice exists in two connected worlds: one rooted in physical materials, and the other shaped through digital and generative processes. On one side, I work with ink, paint, and washes to build layered mixed-media compositions guided by hand. On the other, I use photography and raw botanical scans to develop generative imagery, treating technology as a tool rather than a subject and allowing systems, repetition, and variation to drive the work forward.

Across both approaches, my work centers on botanical forms, portraiture, and elements of fashion that merge into restrained, atmospheric compositions. Influenced by Man Ray’s experimental approach to photographic layering rather than its visual language, I am interested in how images can be built through accumulation, structure, and controlled density. Each work is built through a deliberate process of selection, layering, and refinement.

I have developed a process that allows digital works to be scaled and printed at monumental sizes while remaining limited, rare, and collectible, translating imagery into physical works with presence, materiality, and longevity.

Specimen X is my ongoing mixed-media body of work, built through ink, paint, and washes. The Terrarium Files is a generative series developed within this framework, extending the same visual language across digital and physical forms.

My practice is guided by the belief that art can be both accessible and rigorous, grounded in skill and imagination while responding to the present moment.