It started with doodling. In high school, I filled notebook margins with abstract drawings that grew increasingly complex, tangled forms that I couldn’t stop elaborating on. After moving to California in 1999, I began translating that same impulse onto canvas with oil paint, building more dimensional, modeled forms beyond pure linework.

That transition from 2D to 3D became the heart of my practice. My “Twisted Wood” sculpture series deconstructs square lumber into small shapes, then reassembles them into abstract organic forms. There’s a satisfying circularity to the process—wood begins as something organic, gets milled into rigid boards, and through my hands returns to organic shape again. My professor Lynne Todaro at Mission College first sparked this leap from flat image to sculptural form, and it’s a path I’ve been following ever since.

More recently, I’ve begun working with toothpicks—an exploration that strips the wood sculpture process down to an even more elemental scale, building intricate forms from thousands of identical, delicate pieces.

My ink drawings inhabit their own world—dense, meticulous compositions populated by creatures, celestial bodies, and botanical fantasies. My paintings move between non-objective explorations of color and form and atmospheric landscapes.

I relocated to Washougal, WA in 2022, where I continue to work across sculpture, ink, and paint in my free time.