My work is built from sharp geometric fields that appear to shift and overlap, with each plane carrying its own surface character: a texture, a grain, or a quality of light that differs from its neighbors. The edges are starkly defined. The interiors are more organic, more layered. The result is work that feels physically weighted, even grounded, despite being flat. Compositions imply movement, as though the planes could slide or the lines could lift off the surface entirely and become structural.

My work begins in intuitive sketches. Shapes and color begin as marks before they are understood as form. A first gestural mark, a reaction, then a feedback loop from which a structural form emerges.

From that starting point, I move into a focused process of iteration: identifying what is working for me in a composition and then building a visual system from it. From there I begin exploring what that system allows. Each series has its own internal logic. Its own rules about form, proportion, and the relationship between planes. Individual works are permutations within that logic, each one testing a different set of color relationships or compositional shifts while working to remain legibly part of the whole.