Artist’s Statement

Crafting paintings with intention—and a touch of humanity.

Crafting paintings with intention—and a touch of humanity.

I make paintings grounded in craftsmanship, considered composition, and sublimity. I seek an aesthetic arrest: a moment when the eye stops, attention deepens, and the world becomes newly felt.

I am a Neo-Modernist. Drawing on enduring artistic values, I seek a direct human connection between the painting and its viewer.

My paintings begin with the visible world—landscape, common objects, flowers, figures, and contemporary moments—but seek more than description. Through color, structure, and lived observation, I slow perception and recover significance in subjects that daily life can make too familiar or overlooked.

Working between Mougins, France, and New York, I paint landscapes, still lifes, and flowers that draw upon observation, memory, color, and imagination. My approach is Neo-Modernist: I believe that painting can still offer beauty, presence, and a direct human connection in a distracted age.

I value art made with care and purpose—work in which composition, material, and feeling come together to invite the viewer to slow down and look again.

In a culture shaped by speed and distraction, I hope to offer a space for stillness, renewed attention, and connection—to place, nature, memory, and one another. I seek to make familiar things newly visible.

How I approach painting:

I work in oil on canvas, drawn to its depth, slowness, and capacity for color. A painting develops through observation, drawing, revision, and layers of paint and glaze; I continue adjusting a wet canvas over several days, testing color, structure, and composition.

I work exclusively with oil on canvas, as exploring the effects of color fascinates me. I enjoy tinkering with a still-wet canvas, during the days-long drying period. validating the importance of composition.

Figurative painting suits my vision. I find objects, even common objects, can elicit an emotional response when artfully presented. Or, as my favorite dictum goes, ‘It’s not what you say, but how you say it (that matters).’

Impressionism, Post-Impressionism, and Modernism have been lasting influences. I study their use of color, structure, and feeling not to reproduce the past, but to carry those lessons into present-day subjects. Like a jazz standard renewed in performance, traditional visual languages can become alive again.

My aim is to create paintings in which craftsmanship, composition, and sublimity come together—works that hold attention and leave the viewer with a renewed sense of the human world.

Art with intention—and a touch of humanity.