20×16
Acrylic & oil stick on raw canvas, 2026
Preliminary Strokes is a series of six works that begins with an act of unlearning. After years of developing a layered visual language — accumulating mark upon mark, texture upon texture — this collection asks a different question: what remains when you take it all away?
The works are made with graphite, acrylic, and oil stick on raw canvas, leaning into the unprimed surface as an active presence rather than a neutral ground. Negative space becomes as significant as any mark. Lines and gestures are allowed to stand alone, unhurried and unconcealed — closer to the spontaneity of a child drawing than the deliberateness of a practiced hand. The result is a quieter, more open body of work, one that breathes.
The series grew from a place of honesty: returning to basics after deep artistic development is not regression, but it can feel that way. There is vulnerability in simplicity. This collection is a response to that feeling — a choice to sit with it, and to find focus and clarity on the other side. Inspired by the gestural freedom of Cy Twombly and the precise, meditative economy of Kenneth Noland, these paintings explore what it means to begin again with intention.
My hope is that viewers find in these works a calming, complementary presence — paintings that make room rather than fill it, and offer space for one’s own thoughts and feelings to arrive.
20×16
Acrylic & oil stick on raw canvas, 2026
Preliminary Strokes is a series of six works that begins with an act of unlearning. After years of developing a layered visual language — accumulating mark upon mark, texture upon texture — this collection asks a different question: what remains when you take it all away?
The works are made with graphite, acrylic, and oil stick on raw canvas, leaning into the unprimed surface as an active presence rather than a neutral ground. Negative space becomes as significant as any mark. Lines and gestures are allowed to stand alone, unhurried and unconcealed — closer to the spontaneity of a child drawing than the deliberateness of a practiced hand. The result is a quieter, more open body of work, one that breathes.
The series grew from a place of honesty: returning to basics after deep artistic development is not regression, but it can feel that way. There is vulnerability in simplicity. This collection is a response to that feeling — a choice to sit with it, and to find focus and clarity on the other side. Inspired by the gestural freedom of Cy Twombly and the precise, meditative economy of Kenneth Noland, these paintings explore what it means to begin again with intention.
My hope is that viewers find in these works a calming, complementary presence — paintings that make room rather than fill it, and offer space for one’s own thoughts and feelings to arrive.