Maps collection:

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Each piece begins with a digital exploration. Using Apple Maps, I carefully chart city blocks – one by one – to create the structural foundation of the work. The digital cartography serves as the blueprint for the physical composition.

From this mapped framework, I transition into a tactile process. Working with soft body acrylics, I build the surface through repeated layering – sometimes dozens of times – to create depth, texture, and a subtle sculptural presence.

Though the technique is simple, it demands time, patience, and a meditative rhythm. The result is a curvilinear, tile-like interpretation of the city map – dimensional and luminous – where painting, mapping, and relief converge.

Life Is Golden collection:

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"Life is Golden" invites viewers into an act of discovery, asking what we might notice about the living world if we bring careful attention to our surroundings.

The piece poses a simple question: if we're willing to search patiently for painted bees, what might we begin to see about the real ones that move quietly through our daily lives? The work unfolds through over three dozen bees, each one painted on a vitelline membrane – that thin, translucent layer surrounding an egg yolk. These materials demand reverence; they tear at the slightest misjudgment, requiring the kind of delicate touch that becomes meditative. Each painted membrane finds its way back into its eggshell, and I place these painted eggshells on the canvas in unexpected angles with the bees tucked into corners where eyes don't naturally fall.

The fragility of these membranes mirrors the natural systems we depend on, their delicate surfaces echoing the care our world requires. When someone finally discovers one of the hidden bees, there's a moment of genuine delight – the satisfaction of finding something that wasn't freely given, something that required curiosity and persistence to locate. Through this experience of seeking and finding, the piece becomes a meditation on attention itself, on learning to look with intention.

Impasto Maps collection:

Using the impasto technique, I form relief maps with a palette knife, building thick, dimensional layers of acrylic paint that transform flat canvas into topographical terrain. I sculpt cities stroke by stroke, applying paint in concentrated sections where intersecting lines and pathways rise from the surface like miniature urban infrastructure.

My process involves building up these textured forms through multiple layers, creating genuine physical depth that catches and plays with light as viewers move around each piece. I work with a deliberately restrained palette of muted lavenders, soft pinks, grays, and subtle blues against creamy off-white backgrounds, allowing the sculptural quality to dominate the visual experience.

Each section is applied as a "tile" of thick paint, infused with personal emotion and memory, where the raised portions create shifting shadows and highlights. My palette knife technique produces flowing, curved forms that suggest the living arteries of metropolitan life - the organic pathways people carve through cities, the rhythm of street grids, the pulse of subway systems. The result is artwork so tactile that I encourage viewers to run their hands across the surface, experiencing the physical geography I've created through both sight and touch.