I paint at the intersection of two ways of making marks: the oldest one we have, and the newest. Long before written language, humans left images behind to record what mattered — that impulse hasn't changed, only the tools have.
I pull imagery from the internet — a flattened, endlessly repeating stream of pictures — and slow it down. Painting by hand forces a kind of translation: what was disposable becomes considered, what was equalized regains depth and specificity. The paintings are a record of that translation, machine to hand and back again.
Technology isn't a replacement for craft here — it's an ingredient, the same as brush, pigment, or panel. Every generation of painters has absorbed whatever new tool arrived and kept going; that's not a break from tradition, it's the tradition. The search for something new is as old as the impulse to paint in the first place.
This body of work is the current stop on a longer path — one I keep deliberately open to whatever idea interests me next.
Underneath all of it is one idea: our sense of who we are — and who others are — is filtered, inherited, rarely chosen outright. I paint through that using the contemporary figure, borrowed imagery, and the social and political undercurrents that run beneath ordinary lived experience.
I paint what I want, however I want, because I love the practice I've chosen. If a piece here interests you enough to want it in your own space — or you're picturing something built around your own idea — I'd like to hear from you.