Painting Archives
This page gathers together earlier and large-scale paintings — work made across changing studios, materials, and ideas. Each group reflects a phase of experiment and transition: shifts in scale, surface, and thought. Seen together, they trace the movement from narrative and figuration toward the abstract language that continues in the newer work.
Large Works (2005–2012)
These paintings were made at a scale close to the body — often seven or eight feet wide — where gesture and structure could meet in physical space. They were built for immersion rather than precision, using oil and acrylic in alternating layers to find a surface that felt constructed and alive. Many of them combined geometric scaffolds with loose, atmospheric color fields.
Large Works (2005–2012)
These paintings were made at a scale close to the body — often seven or eight feet wide — where gesture and structure could meet in physical space. They were built for immersion rather than precision, using oil and acrylic in alternating layers to find a surface that felt constructed and alive. Many of them combined geometric scaffolds with loose, atmospheric color fields.
Medium Works (2008–2014)
Mid-sized paintings offered a contained arena — enough room for complexity, but not for indulgence. The focus during this period shifted toward refining mark and edge, compressing the large-scale energy into more concentrated compositions. These works link the early gestural material to the current balance of form and rhythm.
Medium Works (2008–2014)
Mid-sized paintings offered a contained arena — enough room for complexity, but not for indulgence. The focus during this period shifted toward refining mark and edge, compressing the large-scale energy into more concentrated compositions. These works link the early gestural material to the current balance of form and rhythm.
Early Works (Pre-2005)
These paintings were made more than a decade ago and mark where I began — small-town North Carolina, working mostly alone and teaching myself how to build an image. They were driven by frustration, curiosity, and a need to find order through paint. Looking back, I see them as studies in persistence as much as in style: exercises in how to make something whole out of uncertainty.
Early Works (Pre-2005)
These paintings were made more than a decade ago and mark where I began — small-town North Carolina, working mostly alone and teaching myself how to build an image. They were driven by frustration, curiosity, and a need to find order through paint. Looking back, I see them as studies in persistence as much as in style: exercises in how to make something whole out of uncertainty.
Studio Archives
A few process photographs remain from the studios where these works were made — pieces in construction, walls covered in sketches, fragments saved for later. They’re reminders of the environment that shaped the work: a mix of improvisation, repetition, and long solitude.
Studio Archives
A few process photographs remain from the studios where these works were made — pieces in construction, walls covered in sketches, fragments saved for later. They’re reminders of the environment that shaped the work: a mix of improvisation, repetition, and long solitude.
Each of these phases built toward the next — not as progression, but as accumulation. The past remains present in the material and method of the work today.
Each of these phases built toward the next — not as progression, but as accumulation. The past remains present in the material and method of the work today.