What draws me in are the rhythms of what is local and immediate: the light as it shifts through seasons, the growth and decline of flora, and the courtship and migrations of birds and insects. I study these movements closely, attentive to how their physical forms metaphorically embody growth, transition, and adaptation — archetypes of our shared human experience.

My work is designed to invite viewers into this web of beauty and structure in the natural world, evoking a sense of awe, connectedness, and belonging. Through both representational imagery and abstract compositions derived from organic forms, I seek to create spaces of solace and discovery. My intention is not to produce sentimental decoration, but to build structurally and coloristically complex compositions that reward close looking, engaging viewers emotionally and cognitively as they trace interwoven marks, forms, and colors.

Each piece is built from layers of delicate, hand-painted and printed papers — Kozo, Abaca, Rice, Lokta, and Mulberry fibers. Onto these I apply acrylics, inks, and watercolors with brushes, sponges, gel plates, botanicals, stencils, and found tools, experimenting with textures, resist patterns, and color harmonies. Drawn or painted imagery often emerges within these layered collages, foregrounding movement, light, and relationships between the real and the implied. Some compositions begin with a specific concept — such as a Sandhill crane’s courtship dance at sunset — while others evolve from the chance effects of a monoprint that sparks further invention.

Underlying all of my work is a conviction that beauty in nature is both resilient and fragile, and that engaging with it can be transformative. Like music, my compositions bypass calculation to reach the viewer in a more visceral, healing way — offering a moment of recognition, solace, and empowerment.