Pen & Ink and acrylic on canvas.

Painting of Si Wata, native American from a photo by Edward Curtis. Oil on linen panel 12x16. I have long admired the work of Edward Curtis. His photo documentation of Native Americans is a historical treasure. This and several others I have painted were from black and white or sepia toned photos. My own research provided color references in which to expand upon in these paintings.

Painting of Cree Indian from a photo by Edward Curtis. Oil on linen panel 12x16. Reference description noted on the Si Wata Wa painting.

Painting of woman in sunlit window. Oil on linen panel 12x16. This is a painting I pulled from a reference of copy right free photos that just intrigued me by the lighting. The painting recently sold.

Painting of a woman at the Sea Grill in Washington D.C. from a 1940's photo. oil on linen panel 14x18. This painting was done from a black and white photo by a woman photographer whose last name is Bubly from the 1940's. It inspired me as an Edward Hopper style of reference. I added color to suit the period.

Painting of Eagle Elk from a photo by Edward Curtis. Oil on linen 12x16. The reference subject I referenced in my Si Wata Wa painting above.

Danielle the subject of this painting was a model at the Portrait Society of America Conference in 2024. She posed for a group of us to draw her. This pose however, was during a break where she turned to face and chat with her audience. I took the photo as she chatted. I later painted her in this pose and created a more colorful background to reflect her colorful personality.

Edward in Egypt is a commissioned portrait by Edward himself who is an avid traveler by passion and profession. This is an oil on linen panel 12x16.

0 hours (Day 1)

Oil on canvas

40 x 22 in

101.6 x 55.88 cm

2025

Oil on canvas

40 x 22 in

101.6 x 55.88 cm

2025

Oil on canvas

22 x 40 in

55.88 x 101.6 cm

2025

Oil on canvas

40 x 22 in

101.6 x 55.88 cm

2025

Oil on canvas

40 x 22 in

101.6 x 55.88 cm

2025

Oil on canvas

40 x 40 in

106.6 x 106.6 cm

2025

Oil on canvas

40 x 40 in

101.6 x 101.6 cm

2025

Oil on canvas

30 x 24 in

76.2 x 60.96 cm

2025

Oil on canvas

36 1/2 x 22 1/2 in

92.71 x 57.15 cm

2025

newspapers*, felt, fencing, metal posts, and wood               
61” x 73” x 75”        155cm x 185cm x 191cm

For this piece I cut newspapers into strips of 3 different heights and rolled each to fit into the fencing. Starting with one torso made entirely of newspaper, I then gradually added gray felt to the rest of the torsos.

I chose felt as it is made from matting and condensing separate fibers into one – similar to how news is, at times, shared. Like in the children's game of telephone when a secret is whispered from person to person, I hope that the process we use to share news today does not lead us too far from the truth.      

*Newspapers were generously donated by the Enoch Pratt Free Library. 

newspapers*, felt, fencing, metal posts, and wood               
Detail image

For this piece I cut newspapers into strips of 3 different heights and rolled each to fit into the fencing. Starting with one torso made entirely of newspaper, I then gradually added gray felt to the rest of the torsos.

I chose felt as it is made from matting and condensing separate fibers into one – similar to how news is, at times, shared. Like in the children's game of telephone when a secret is whispered from person to person, I hope that the process we use to share news today does not lead us too far from the truth.      

*Newspapers were generously donated by the Enoch Pratt Free Library. 

felt, acrylic paint, and bird netting 

78” x 38”     198cm x 97cm 

detail image

Surrounded by news every moment, how we choose to interact with it or disseminate it matters. While making these artworks I was asking: Is it okay to follow the crowd without doing your own research? Why is fear peddling still so prevalent even as we become more educated about its use in areas from book banning to journalism? How do we maintain the well-being of all individuals when varying sources of information are adding to the polarity of the public’s view? How do we ensure that information we receive from social media is based on reality and not an algorithmic amalgamation? From yellow journalism to clickbait, what is the obligation of a news source? Where does our own obligation stand before we share information? My intention with this series is to prompt the audience to investigate further regarding how they receive and share their news or information. I think that this is something that affects all people and the need to evaluate if we are getting the whole story, a partial story, or a one-sided story is growing.

felt, acrylic paint, and bird netting 

detail image

Surrounded by news every moment, how we choose to interact with it or disseminate it matters. While making these artworks I was asking: Is it okay to follow the crowd without doing your own research? Why is fear peddling still so prevalent even as we become more educated about its use in areas from book banning to journalism? How do we maintain the well-being of all individuals when varying sources of information are adding to the polarity of the public’s view? How do we ensure that information we receive from social media is based on reality and not an algorithmic amalgamation? From yellow journalism to clickbait, what is the obligation of a news source? Where does our own obligation stand before we share information? My intention with this series is to prompt the audience to investigate further regarding how they receive and share their news or information. I think that this is something that affects all people and the need to evaluate if we are getting the whole story, a partial story, or a one-sided story is growing.

felt, acrylic paint, and bird netting 

78” x 60”    198cm x 152cm 

detail image

Surrounded by news every moment, how we choose to interact with it or disseminate it matters. While making these artworks I was asking: Is it okay to follow the crowd without doing your own research? Why is fear peddling still so prevalent even as we become more educated about its use in areas from book banning to journalism? How do we maintain the well-being of all individuals when varying sources of information are adding to the polarity of the public’s view? How do we ensure that information we receive from social media is based on reality and not an algorithmic amalgamation? From yellow journalism to clickbait, what is the obligation of a news source? Where does our own obligation stand before we share information? My intention with this series is to prompt the audience to investigate further regarding how they receive and share their news or information. I think that this is something that affects all people and the need to evaluate if we are getting the whole story, a partial story, or a one-sided story is growing.

embroidery thread, medical gauze

6" x 8" x 2"     15cm x 20cm x 5cm

A response to the president hissing, "Quiet, Piggy!" to Bloomberg White House correspondent Catherine Lucey while they were aboard Air Force One on November 14, 2025.

I was thinking about how we should focus more energy on the people who are undermined by our current president and highlight some part of their life to show their worth, just as was done in E.B. White’s book, Charlotte’s Web. I chose to embroider on medical gauze for this piece as a nod to the healing that we must endure.

cover up/concealer makeup, bronzer make up, and acrylic paint on cold pressed watercolor paper

Dimensions variable with each print being 12" x 9"    30cm x 23cm

In order to more immediately respond to the daily issues being created by our current President and his staff, I created a Linocut portrait and printed that onto watercolor paper. I then stenciled text onto the portrait and applied a layer of cover up/concealer and then a layer of bronzer make up. Using a resist technique, I wiped the cover up/concealer and bronzer off of the text as a symbolic way of exposing what I see are the realities of our current time.

cover up/concealer makeup, bronzer make up, and acrylic paint on cold pressed watercolor paper

12" x 9"         30cm x 23cm

In order to more immediately respond to the daily issues being created by our current President and his staff, I created a Linocut portrait and printed that onto watercolor paper. I then stenciled text onto the portrait and applied a layer of cover up/concealer and then a layer of bronzer make up. Using a resist technique, I wiped the cover up/concealer and bronzer off of the text as a symbolic way of exposing what I see are the realities of our current time.

cover up/concealer makeup, bronzer make up, and acrylic paint on cold pressed watercolor paper

12" x 9"       30cm x 23cm

In order to more immediately respond to the daily issues being created by our current President and his staff, I created a Linocut portrait and printed that onto watercolor paper. I then stenciled text onto the portrait and applied a layer of cover up/concealer and then a layer of bronzer make up. Using a resist technique, I wiped the cover up/concealer and bronzer off of the text as a symbolic way of exposing what I see are the realities of our current time.

cover up/concealer makeup, bronzer make up, and acrylic paint on cold pressed watercolor paper

12" x 9"       30cm x 23cm

In order to more immediately respond to the daily issues being created by our current President and his staff, I created a Linocut portrait and printed that onto watercolor paper. I then stenciled text onto the portrait and applied a layer of cover up/concealer and then a layer of bronzer make up. Using a resist technique, I wiped the cover up/concealer and bronzer off of the text as a symbolic way of exposing what I see are the realities of our current time.

newspapers*, felt, fencing, metal posts, and wood               
61” x 73” x 75”        155cm x 185cm x 191cm

For this piece I cut newspapers into strips of 3 different heights and rolled each to fit into the fencing. Starting with one torso made entirely of newspaper, I then gradually added gray felt to the rest of the torsos.

I chose felt as it is made from matting and condensing separate fibers into one – similar to how news is, at times, shared. Like in the children's game of telephone when a secret is whispered from person to person, I hope that the process we use to share news today does not lead us too far from the truth.      

*Newspapers were generously donated by the Enoch Pratt Free Library. 

newspapers*, felt, fencing, metal posts, and wood               
Detail image

For this piece I cut newspapers into strips of 3 different heights and rolled each to fit into the fencing. Starting with one torso made entirely of newspaper, I then gradually added gray felt to the rest of the torsos.

I chose felt as it is made from matting and condensing separate fibers into one – similar to how news is, at times, shared. Like in the children's game of telephone when a secret is whispered from person to person, I hope that the process we use to share news today does not lead us too far from the truth.      

*Newspapers were generously donated by the Enoch Pratt Free Library. 

felt, acrylic paint, and bird netting 

78” x 38”     198cm x 97cm 

detail image

Surrounded by news every moment, how we choose to interact with it or disseminate it matters. While making these artworks I was asking: Is it okay to follow the crowd without doing your own research? Why is fear peddling still so prevalent even as we become more educated about its use in areas from book banning to journalism? How do we maintain the well-being of all individuals when varying sources of information are adding to the polarity of the public’s view? How do we ensure that information we receive from social media is based on reality and not an algorithmic amalgamation? From yellow journalism to clickbait, what is the obligation of a news source? Where does our own obligation stand before we share information? My intention with this series is to prompt the audience to investigate further regarding how they receive and share their news or information. I think that this is something that affects all people and the need to evaluate if we are getting the whole story, a partial story, or a one-sided story is growing.

felt, acrylic paint, and bird netting 

detail image

Surrounded by news every moment, how we choose to interact with it or disseminate it matters. While making these artworks I was asking: Is it okay to follow the crowd without doing your own research? Why is fear peddling still so prevalent even as we become more educated about its use in areas from book banning to journalism? How do we maintain the well-being of all individuals when varying sources of information are adding to the polarity of the public’s view? How do we ensure that information we receive from social media is based on reality and not an algorithmic amalgamation? From yellow journalism to clickbait, what is the obligation of a news source? Where does our own obligation stand before we share information? My intention with this series is to prompt the audience to investigate further regarding how they receive and share their news or information. I think that this is something that affects all people and the need to evaluate if we are getting the whole story, a partial story, or a one-sided story is growing.

felt, acrylic paint, and bird netting 

78” x 60”    198cm x 152cm 

detail image

Surrounded by news every moment, how we choose to interact with it or disseminate it matters. While making these artworks I was asking: Is it okay to follow the crowd without doing your own research? Why is fear peddling still so prevalent even as we become more educated about its use in areas from book banning to journalism? How do we maintain the well-being of all individuals when varying sources of information are adding to the polarity of the public’s view? How do we ensure that information we receive from social media is based on reality and not an algorithmic amalgamation? From yellow journalism to clickbait, what is the obligation of a news source? Where does our own obligation stand before we share information? My intention with this series is to prompt the audience to investigate further regarding how they receive and share their news or information. I think that this is something that affects all people and the need to evaluate if we are getting the whole story, a partial story, or a one-sided story is growing.

embroidery thread, medical gauze

6" x 8" x 2"     15cm x 20cm x 5cm

A response to the president hissing, "Quiet, Piggy!" to Bloomberg White House correspondent Catherine Lucey while they were aboard Air Force One on November 14, 2025.

I was thinking about how we should focus more energy on the people who are undermined by our current president and highlight some part of their life to show their worth, just as was done in E.B. White’s book, Charlotte’s Web. I chose to embroider on medical gauze for this piece as a nod to the healing that we must endure.

cover up/concealer makeup, bronzer make up, and acrylic paint on cold pressed watercolor paper

Dimensions variable with each print being 12" x 9"    30cm x 23cm

In order to more immediately respond to the daily issues being created by our current President and his staff, I created a Linocut portrait and printed that onto watercolor paper. I then stenciled text onto the portrait and applied a layer of cover up/concealer and then a layer of bronzer make up. Using a resist technique, I wiped the cover up/concealer and bronzer off of the text as a symbolic way of exposing what I see are the realities of our current time.

cover up/concealer makeup, bronzer make up, and acrylic paint on cold pressed watercolor paper

12" x 9"         30cm x 23cm

In order to more immediately respond to the daily issues being created by our current President and his staff, I created a Linocut portrait and printed that onto watercolor paper. I then stenciled text onto the portrait and applied a layer of cover up/concealer and then a layer of bronzer make up. Using a resist technique, I wiped the cover up/concealer and bronzer off of the text as a symbolic way of exposing what I see are the realities of our current time.

cover up/concealer makeup, bronzer make up, and acrylic paint on cold pressed watercolor paper

12" x 9"       30cm x 23cm

In order to more immediately respond to the daily issues being created by our current President and his staff, I created a Linocut portrait and printed that onto watercolor paper. I then stenciled text onto the portrait and applied a layer of cover up/concealer and then a layer of bronzer make up. Using a resist technique, I wiped the cover up/concealer and bronzer off of the text as a symbolic way of exposing what I see are the realities of our current time.

cover up/concealer makeup, bronzer make up, and acrylic paint on cold pressed watercolor paper

12" x 9"       30cm x 23cm

In order to more immediately respond to the daily issues being created by our current President and his staff, I created a Linocut portrait and printed that onto watercolor paper. I then stenciled text onto the portrait and applied a layer of cover up/concealer and then a layer of bronzer make up. Using a resist technique, I wiped the cover up/concealer and bronzer off of the text as a symbolic way of exposing what I see are the realities of our current time.

Tryptic measuring 12" x 22", found material, rephotographed 1899 inverted history, photo fragment of a plaster form cast by me. 

Logo i did for shad360, a 360 photo both rental services.

An alternate logo created for Carrington Celebrity Barber as an alternate logo that could be used for t-shirts

This is one of my most recent logo design I did for an rising Pilates company