Who I am

As a portrait painter, my artwork pursues the immediate quality of grand manner painting with a contemporary voice and strong predilection for stark contrast and drama. A New York native, I have taken it upon myself to depict the distinct and distinguished people of my locale while also reaching out beyond my home whether on commission or on my own.

Throughout my career, I have been privileged to undertake a variety of commissions that challenge and refine my craftsmanship and have been honored by several accolades.

I was awarded the De Laszlo Foundation Prize 2024 while exhibiting at the Royal Portrait Society’s annual exhibit and have been featured alongside other artists in the Portrait Society of America’s The Future Generation competition, with a painting taking second place and being featured in several publications. I have also been commissioned to make a portrait for a feature-length film, Concessions, and continue to do exciting collaborations with other artists of all forms.

My full-length portraits, brushy and operatically designed compositions, and luscious visual texture reveal a keen interest in the grand manner tradition. I am invested in using high quality materials and pursues the creation of stunning and powerful paintings that can grab attention from up close and afar.

How I Work

In my practice I have found that the most powerful tool in my arsenal is that of joy and excitement. Perhaps dread follows soon after—it certainly motivates. Each day, on each painting, I pursue childlike joy in my work, conceptually and technically. That isn’t to say that the work remains puerile, but that keeping intact the love of each and every piece is essential to my work.

I am privileged to enjoy the company of others who come to sit whether for commissions or projects, and will have a freshly stretched and toned canvas laid out for them on their first sitting. From then on, we wage war on empty seas until they are filled. I dance about between wall and canvas, we maintain conversation, and the reality of existing in space with another human seeps into the work. After most every sitting, a painting will be scraped down to manage glare and texture, in anticipation of more time. Eventually an end will be found, either by concession or miracle—it’s difficult to stop.

There lies the finished product!