My work exists at the intersection of drawing and painting, where line and color remain in active conversation rather than resolving into polish. I often begin with loose, expressive linework—sometimes in pen, sometimes in pastel—and allow those lines to remain visible, resisting the urge to fully refine or conceal them. This creates a sense of immediacy, as though the image is still in the process of becoming.

I work with layered, imperfect color: soft washes, smudged pigments, and uneven textures that echo the instability of memory and feeling. Rather than aiming for photorealism, I’m interested in emotional accuracy: skin tones shift, edges blur, and forms dissolve slightly, suggesting interior states rather than fixed identities. The materials themselves (whether oil pastel, watercolor, or ink) are allowed to show their hand, creating a tactile, almost fragile surface.

Much of my work centers on the female figure, not as an object of clarity, but as a site of ambiguity. Faces are often partially obscured, softened, or stylized, resisting full legibility. There is a tension between presence and withdrawal—the subject is there, but not entirely accessible. This is heightened through small surreal or symbolic gestures, like the antler-like forms emerging from the head, which disrupt realism and introduce a psychological or dreamlike layer.

Compositionally, I tend toward intimacy: cropped frames, close-up portraits, and figures that feel contained within their own emotional space. At the same time, there is a deliberate incompleteness. Backgrounds are sparse or undefined, and edges remain open, allowing the figure to exist in a kind of suspended, liminal environment.

Aesthetically, my work draws on a cinematic sensibility, but translated into stillness. The figures feel like moments paused mid-thought, mid-performance, or mid-transformation. There is an undercurrent of vulnerability, but also a quiet resistance—the sense that the subject is both aware of being seen and withholding something essential.

Ultimately, my technique embraces contradiction: control and looseness, beauty and distortion, visibility and concealment. I am less interested in resolving these tensions than in holding them, creating images that feel emotionally charged, unstable, and alive.