My work begins with observation. I return to the same subjects over time, grasses, hillsides, shifting light, collecting fragments through photographs, sketches, and memory.

In the studio, these observations are simplified and rearranged. Forms are reduced, edges softened or sharpened, and color is used to build atmosphere rather than describe a specific place. The result sits between representation and abstraction, familiar, but not fixed.

I’m interested in how a landscape can feel both expansive and contained. Each painting holds a moment of attention, something noticed, studied, and translated into a quieter, more distilled form.