My goal was to capture the nature of the skull in exactness with delicate and carefully placed linework. I also sought to make the drawing a sort of Memento Mori, reminding us of death but still seeing the beauty and naturality in it.
My goal was to capture the nature of the flowers in exactness with delicate and carefully placed linework. I also sought to bring out the energy and essence of the plant, the emotions they convey in us and the beauty in their existence.
I focused on the complex space of this still-life. I wanted it to be more active and break the definition of still-life. Through the different heights of the space, the reflective objects are introduced.
A nod to my home of many years that I was abruptly evicted from. A place filled with memories, from the good, not so great and everything in between..A place I’m grateful for and Ill always hold onto.
I wanted to make the subject matter be the feeling of stepping into space & getting ready to play with Ziggy, the three legged beast. I found myself influenced by Nigel Van Wieck & his ability to capture the presence of open space but somehow still feel part of the scene.
These are a series of prints where I experimented with overlap and used stencils to create these areas of light and space. It portrays my experience of progression to improve my wellbeing as a whole.
This charcoal and ink interior is meant to reflect the passing of time. The work is a documentation of my main living space during the pandemic. It's monotonous, yet brewing with quiet chaos.
My aunt is a sweet hard-working woman who swears 'shes not that tired' all the time. Therefore, I had to capture the very moment she snoozes off.. I wanted to illuminate the warm and cozy feeling that radiates from her presence, even when she's struggling to stay awake.
I am often inspired by television and film stills and their moody, in-the-moment quality. This work in particular was based on a still from the series American Horror Story.
I really wanted to capture a specific moment and time of day in this piece as well as giving off a specific feeling or memory.
A physical copy I could look at everyday focused on the happiness & comfort I felt growing up in a family with laughter despite the ongoing fear of war in Kosovo during the late 90's. Almost like a children’s book, I wanted to capture the innocence of childhood.
This painting was created during the COVID-19 outbreak while attending school online. Looking at Soutine’s brush works inspires me to understand light and dark as a sculptural build up of curvilinear and geometric marks.
This piece questions the nature of our position in our modern surveillance state: are we the watcher or the one being watched?
This piece was inspired by the poem "The Mothering Blackness", by Maya Angelou. First, a maquette was built then was used as a reference. I wanted to show the eerie feeling I got from reading the poem without illustrating the poem.
My piece is about my nostalgia for traveling during the pandemic. Something I hoped to accomplish was nostalgia. My process was to follow a 2017 photograph from my trip to Greece. Major influence was Vincent Van Gogh. My inspiration to create this work was watching the rain fall.
One of the paintings from my series "Me and my friends". My two close friends as the main characters of the painting.
This is a digital photography Image, turned into B&W. It's a pair of dickies pants. I created it to show that whether it's on the runway or in the working field Dickies are an iconic American brand.
This work was taken on a Digital SLR camera, and then put into photoshop. it's a photo that was taken with the purpose of creating a high fashion photography shot. Model is styled similar to Gigi Hadid's 2021 Met Galla look.
Walking the beach at sunrise
When the COVID-19 Pandemic first started around April of 2020, many of our lives were changed drastically. Humans were forced to isolate and weren't allowed human interaction. I was hoping to express in my artwork, the feelings of many during this time.
My piece, Outburst, is a moment in which space is constructed using the harmony of jagged lines and rounded forms. The bright colors are interrupted by the use of sharp, black marks. There is a chaotic, joyful sense of crowded-ness in the way that elements of this abstract world interact.
The fractal nature of the universe means every point in the fractal is a manifestation of its equation, while the equation itself contains every point. Can the neural architecture pruning the decision tree while placing colors reveal mathematical truths about the universe?
This piece was created as a sort of self portrait of myself during the pandemic. It shows my feelings of being downtrodden and acclimation to what’s been going on, while still pushing forward.
How do you create your own memory palace? Foundation first seems too obvious. I pulled the windows up before anything, trying for some clarity. I sense huge emotions in the heat haze, some articulated and others washed out, reaching for each other though their vision is clouded.
I am interested in process and how it can be a part of the content of the work. Mark, color, texture and surface are as assertive as the image itself.
This thematic series created during my sabbatical references a series of infra-red photographs from Consumer Reports, illustrating the types of bacteria infecting lettuce. At first meant to be a critique of global warming, the images became a source of healing and calm, to evoke beauty during a tragic time.
I find the Catskills to be an inspiration in any season. This is a pastel done from a local scene in my winter travels.
This painting is about relationships between memory, the senses, and place.
This work layers imagery reflecting environmental and cultural issues. I use a process that is both additive and subtractive.
I develop my paintings as fusions of mental and physical space – in this case, an underwater world with 2 figures, layered with text and binary code. My process is both additive and subtractive.
In this particular piece, the painting space of my classroom was combined with a landscape in the form of a double exposure. This work is about the junction between two material practices, but also the boundary between two physical spaces.
Red Number Seventeen is from a series of prints that indulgently celebrate the color Red. Ink color and pressure, size and space are the languages employed in this homage. The prints in the series are one-of-a-kind and made with the same immediacy (almost!) as a drawing.
Red Number Sixteen is from a series of prints that indulgently celebrate the color Red. Ink color and pressure, size and space are the languages employed in this homage. The prints in the series are one-of-a-kind and made with the same immediacy (almost!) as a drawing.
Red Number Eleven is from a series of prints that indulgently celebrate the color Red. Ink color and pressure, size and space are the languages employed in this homage. The prints in the series are one-of-a-kind and made with the same immediacy (almost!) as a drawing.
Red Number Nineteen is from a series of prints that indulgently celebrate the color Red. Ink color and pressure, size and space are the languages employed in this homage. The prints in the series are one-of-a-kind and made with the same immediacy (almost!) as a drawing.
Red Number One is from a series of prints that indulgently celebrate the color Red. Ink color and pressure, size and space are the languages employed in this homage. The prints in the series are one-of-a-kind and made with the same immediacy (almost!) as a drawing.
My work is primarily conceptual with elements of abstraction and sculpture incorporated into it. My goal is to create an abstract canvas using oil sticks and acrylic paint, combining two opposite elements to create an expanse of color and texture.
My work is primarily conceptual with elements of abstraction and sculpture incorporated into it. My goal is to create an abstract canvas using oil sticks and acrylic paint, combining two opposite elements to create an expanse of color and texture.
My work is primarily conceptual with elements of abstraction and sculpture incorporated into it. My goal is to create an abstract canvas using oil sticks and acrylic paint, combining two opposite elements to create an expanse of color and texture.
My work is primarily conceptual with elements of abstraction and sculpture incorporated into it. My goal is to create an abstract canvas using oil sticks and acrylic paint, combining two opposite elements to create an expanse of color and texture.
As a draftsman, painter, printmaker and educator I work from observation and memory describing how light creates volume, form and life. Drawing is my shorthand and painting informs how I illustrate form, light and space. Both are interchangeable with the objective of creating dimensionality and breathing life into my work.
As a draftsman, painter, printmaker and educator I work from observation and memory describing how light creates volume, form and life. Drawing is my shorthand and painting informs how I illustrate form, light and space. Both are interchangeable with the objective of creating dimensionality and breathing life into my work.
As a draftsman, painter, printmaker and educator I work from observation and memory describing how light creates volume, form and life. Drawing is my shorthand and painting informs how I illustrate form, light and space. Both are interchangeable with the objective of creating dimensionality and breathing life into my work.
As a draftsman, painter, printmaker and educator I work from observation and memory describing how light creates volume, form and life. Drawing is my shorthand and painting informs how I illustrate form, light and space. Both are interchangeable with the objective of creating dimensionality and breathing life into my work.
The Seven Sorrows is a series of drawings that combine Marian iconography with images of the global refugee crisis, connecting images of loss across millennia and pointing to a shared human experience that is still urgently present.
The Seven Sorrows is a series of drawings that combine Marian iconography with images of the global refugee crisis, connecting images of loss across millennia and pointing to a shared human experience that is still urgently present.
The Seven Sorrows is a series of drawings that combine Marian iconography with images of the global refugee crisis, connecting images of loss across millennia and pointing to a shared human experience that is still urgently present.
The Seven Sorrows is a series of drawings that combine Marian iconography with images of the global refugee crisis, connecting images of loss across millennia and pointing to a shared human experience that is still urgently present.
The Seven Sorrows is a series of drawings that combine Marian iconography with images of the global refugee crisis, connecting images of loss across millennia and pointing to a shared human experience that is still urgently present.
The Seven Sorrows is a series of drawings that combine Marian iconography with images of the global refugee crisis, connecting images of loss across millennia and pointing to a shared human experience that is still urgently present.
The Seven Sorrows is a series of drawings that combine Marian iconography with images of the global refugee crisis, connecting images of loss across millennia and pointing to a shared human experience that is still urgently present.