2nd anniversary sale
paintings in october
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Departing Spring is named for a Bashō haiku as captured in his book, The Narrow Road to the Deep North:
departing spring
birds cry, in fishes eyes
are tears
On the 16th of May 1689, the haiku poet Matsuo Bashō set off on a 150-day walking journey from Edo (Tokyo) to the northern Provinces of Honshū, Japan. In 2021, I recreated part of Bahsō's walking journey for ten days.Departing Spring is one of ten paintings in The Narrow Road to the Deep North Spring 2024 Series.
acrylic on raw canvas
24” h x 18” w x 1.5” d
(61 cm x 46 cm x 3.5 cm)
Cloud Physics is made with acrylic paint on raw canvas and a monoprinted layer of paint transfered from a plastic bag. Details are added from raw pigment and flakes of the plastic transferred during the monoprinting process.
Cloud Physics
2024
acrylic, pigment, LDPE on raw canvas
24" h x 18" w x 1.5" d
(61 cm x 46 cm x 3.5 cm)
About the Snow Drift Series
While creating my Indigo spring series, I laid garbage bags on the ground to protect my studio floors. These garbage bags recorded each spill of paint, every experiment from paintings that made it into The Narrow Road to the Deep North series and the ones that didn’t.
The trash bags protected the floor as intended and — unexpectedly — transferred themselves onto the back of some of my paintings. I found this to be a rather poetic metaphor for the hidden systems of support propping up our lives, a metaphor for how ideas spread from one body to the other, a metaphor for the histories we all carry behind our surface. Though I explored widely this summer with materials, colors, and techniques, I knew then my next series would explore this accidental discovery.
The Snow Drift series tells the story of what we value and what we discard. It tells the story of my personal history and artistic discovery. It exposes what often stays hidden.
Snow Moon is made with acrylic paint on raw canvas, then covered with a primer and a monoprinted layer of paint transfered from a plastic bag. Details are added from flakes of the plastic transferred during the monoprinting process.
Snow Moon
2024
acrylic, primer, LDPE on raw canvas
30" h x 24" w x 1.5" d
(76 cm x 61 cm x 3.5 cm)
About the Snow Drift Series
While creating my Indigo spring series, I laid garbage bags on the ground to protect my studio floors. These garbage bags recorded each spill of paint, every experiment from paintings that made it into The Narrow Road to the Deep North series and the ones that didn’t.
The trash bags protected the floor as intended and — unexpectedly — transferred themselves onto the back of some of my paintings. I found this to be a rather poetic metaphor for the hidden systems of support propping up our lives, a metaphor for how ideas spread from one body to the other, a metaphor for the histories we all carry behind our surface. Though I explored widely this summer with materials, colors, and techniques, I knew then my next series would explore this accidental discovery.
The Snow Drift series tells the story of what we value and what we discard. It tells the story of my personal history and artistic discovery. It exposes what often stays hidden.
Snow Storm is made with acrylic paint on raw canvas, then covered with a primer and a monoprinted layer of paint transfered from a plastic bag. Details are added from flakes of the plastic transferred during the monoprinting process.
Snow Storm
2024
acrylic, primer, LDPE on raw canvas
24" h x 18" w x 1.5" d
(61 cm x 46 cm x 3.5 cm)
About the Snow Drift Series
While creating my Indigo spring series, I laid garbage bags on the ground to protect my studio floors. These garbage bags recorded each spill of paint, every experiment from paintings that made it into The Narrow Road to the Deep North series and the ones that didn’t.
The trash bags protected the floor as intended and — unexpectedly — transferred themselves onto the back of some of my paintings. I found this to be a rather poetic metaphor for the hidden systems of support propping up our lives, a metaphor for how ideas spread from one body to the other, a metaphor for the histories we all carry behind our surface. Though I explored widely this summer with materials, colors, and techniques, I knew then my next series would explore this accidental discovery.
The Snow Drift series tells the story of what we value and what we discard. It tells the story of my personal history and artistic discovery. It exposes what often stays hidden.
The Narrow Road to the Deep North is named after Bashō's book of haikus bearing the same title.
On the 16th of May 1689, the haiku poet Matsuo Bashō set off on a 150-day walking journey from Edo (Tokyo) to the northern Provinces of Honshū, Japan. In 2021, I recreated part of Bahsō's walking journey for ten days. The Narrow Road to the Deep North is one of ten paintings in The Narrow Road to the Deep North Spring 2024 Series.
acrylic on raw canvas
34”h x 24”w x 1.5”d
(86.5 cm x 61 cm x 3.5 cm)
You Also Invent The Shipwreck is the result of painting The Narrow Road to the Deep North Spring 2024 Series on top of garbage bags laid down on the ground to protect the flooring in my studio. This painting takes its name from a line written by Paul Virilio:
"When you invent the ship, you also invent the shipwreck; when you invent the plane you also invent the plane crash; and when you invent electricity, you invent electrocution... Every technology carries its own negativity, which is invented at the same time as technical progress."
On the 16th of May 1689, the haiku poet Matsuo Bashō set off on a 150-day walking journey from Edo (Tokyo) to the northern Provinces of Honshū, Japan. In 2021, I recreated part of Bahsō's walking journey for ten days. You Also Invent The Shipwreck is one of ten paintings in The Narrow Road to the Deep North Spring 2024 Series.
acrylic on low-density polyethylene
20” h x 16” w x 1.5” d
(51 cm x 40.5 cm x 3.5 cm)
I Beg You: Leave Me Restless, 2025, 24 x 34 x 1.5 inches, acrylic, flashe, LDPE, oil pastel, oil stick on canvas
The Story Behind the Work
I Beg You: Leave Me Restless, named after a Pablo Neruda poem, is a painting split into neat sections, ordered, organized, contained. Each section features different colors and graphic textures inspired by the Patagonian landscape, surrounding two stick figures hiking with baseball caps and large packs.
"Every print is a result of contact and release, which links it immediately to themes of touch, presence, and intimacy but also loss, separation, and memory."
– Jennifer L. Roberts, art historian, Harvard
We live in a time of overwhelming speed — digital immediacy, rapid production, and a barrage of news updates. Nature, in contrast, moves at its own pace. Glaciers form over centuries, forests regenerate over decades, and landscapes shift in ways that are imperceptible to us yet are made apparent over time. I feel the contrast in timescales between people and nature as I worked on this series in New York surrounded by skyscrapers, new shops popping up on my street, and social media updates while thinking about the inspiration for this series, the slow descent to the Torres del Paine granite peaks of Patagonia and the glaciers that formed them over millennia.
As Jennifer L. Roberts says in her six-part National Gallery of Art lecture series, printmaking is an intimate act of creation in which two foreign bodies rub up against each other with part of one of those bodies physically rubbing off onto the other.
I see this, the contact and release, the rubbing up and rubbing off, as a beautiful metaphor for our relationships, including our relationship with the natural environment. This is why I encorporate monoprinting in my paintings. We shape the environment through our fear and an urge to contain, control, ignore, damage, admire, revere, abuse, and preserve it, and it shapes us via the fragments of it we take with us in the forms of materials, photographs, sustenance, memories, ideologies, and beliefs.