My paintings examine the psychological residue embedded within contemporary American landscapes.
Working from observed and constructed imagery, I approach realism less as description than as a method of pressure. A way to slow perception and hold attention on moments of instability, exhaustion, and estrangement.
Vehicles, architecture, smoke, light and fragments of infrastructure recur throughout the work as both physical subjects and emotional carriers. These environments often feel familiar yet psychologically inaccessible. They are suspended somewhere between presence and disappearance. Narrative remains implied but unresolved.
I am interested in the tension between precision and collapse: surfaces rendered with control while the underlying world appears frayed, overextended or in states of quiet failure. Reflection, obstruction, and spacial instability disrupt clear orientation, allowing the paintings to operate less as documents than as atmospheres shaped by containment, drift, erosion, and release.
Drawing from cinematic space, contemporary realism, and the visual textures of the built environment, the work resists fixed interpretation. What emerges is less a record of specific place than a psychological landscape shaped by pressure, distance, and dislocation.