lives in Seal Rock OR



2019 Couples Therapy, Art Gallery at Umpqua Community College, Roseburg OR (2-person with Selena Jones)

2018 Pep Abysmal, Tropical Contemporary, Eugene OR (solo)

Artist's Vision, Lake Oswego Festival of the Arts, Lake Oswego OR (group)

2017 PEOPLE PEOPLE, North Bank Artists Gallery, Vancouver WA (2-person with Selena Jones)

2016 Tenth Annual Benefit Auction, Disjecta, Portland OR

         Salon: Portland2016 Biennial, Disjecta, Portland OR (group - curated by Michelle Grabner)

2015 Synesthesia Festival, Portland OR (featured presenter)

2014 Kinetascope, Newport Visual Arts Center, Newport OR (solo)

         Every One will be Famous for 12 Inches, Castle Fitzjohns, New York NY (group)

2013 Within and Without, Supernova Blast, Chicago IL (group)

         Ransom, Brooklyn Wayfarers, Brooklyn NY (group)

2005 Valentines, Pratt Street Hospittle, Hartford CT (solo)

2003 Emerge, Studio 7, Hartford CT (group)

         National Small Works Show, Canton Artists' Guild, Canton CT (group)

         Open Sesame, Newspace Gallery, Manchester CT (group)

         BFA Painting Show, Taub Gallery, Hartford CT (group)


Other Activity

2016 Visiting Artist, Pacific Northwest College of Art, Portland OR

         Visiting Artist, Clark College, Vancouver WA

         Published mention, The Disjecta Portland2016 Biennial: A Reader on Place and Work

         Judge, Lake Oswego Festival of the Arts, Lake Oswego OR

2014 Artist Talk, Newport Visual Arts Center, Newport OR



2003 BFA Painting, Hartford Art School, CT magna cum laude

2002 Semester, Glasgow School of Art, UK





January, 2019

The characters in my work are assembled to be evocative of people, though their personal/cultural identifiers are severely limited. With this parameter, and as each piece’s subject is interpreted in accordance to each viewer’s unique projection, the variations of readings may be as numbered as their viewerships. In this way, a work is not defined in its invention, but through its interpretations, and on an individual basis.

January, 2018  Pep Abysmal essay


View: wholeness of void.

Focus: freedom through freindship.

View: under skin of first, each constructively incomplete.

Focus: loosen sinew, draft.  Grant comfort of unknown.

View: open communication transcibed with reverent esoterism.

Focus: best friends forever…beware.

View: uneasy at parties.

Focus: blank, puckered, inexpensive space.  In the center a heavy grin.

View: the thing you like but not the way you like it.

Focus: gimmicky beauty.

View: options aplenty.

Focus: freedom through void.

View: bubbling, impartial congeniality.

Focus: monstrify and satirize.

View: white-hot blame spree.

Focus: smirking, amorphous bruiser.

View: accept warmth.  Absorb and redefine.

Focus: hell of a tomato sauce.


August, 2016

My most recent paintings explore moments of interaction between pairs of invented characters. These moments, possibly shards of a grander narrative, focus on relationships which may be intimate, may be awkward, but are always candid. The characters are depicted in such a way as to provide all of the facts of their being, while leaving enough ambiguity to lend their relationships to alternate readings. This way, a viewer may enter a painting's story with the freedom to interpret the emotional subtext in a maximally personal manner.


September, 2015

I've been working on a series of paintings for the past couple years in which I'm framing gestural drawings within a simplistic shape/color design.  The (painted) drawings are representative of people in motion, and are generated by a practice of working in a semi-traditional mode of figure drawing, using video as subject instead of a static model.  The surrounding raw canvas and simplistic elements are arranged to lull the viewer into an empathetic role with the central element, so that they may better experience the evocations which the figures naturally project.  Using a variety of mediums and techniques with the oil paint, the themes of juxtaposition and aesthetic seduction are extended to include the paintings’ multi-tactile presence.


April, 2014

I do not have a statement,

and it's hard to tell you why.

I tried to write one yester-

day, but all I did was lie.