At the root of all my drawings and paintings is my infatuation with and devotion to the human figure and portrait. I am fascinated by the timeless emotional resonance of figurative art. Portraits serve as a window into the past and into the life of both the sitter and the artist; however, they also serve as a mirror or lens through which we see ourselves and view our own lives.

Formally, I love studying the anatomical workings of the body and the subtle temperature shifts within flesh. Figurative paintings are primarily a visual record of the dialogue between artist and model; form and color are the language in which that dialogue is spoken. My paintings consist of many layers of paint and subtle shifts from warm to cool skin tones; the play of light and shadow on the surface of the flesh are supported by thorough knowledge of the skeleton and musculature.

Emotionally, I strive for authenticity in my work. I want to create not only an accurate likeness, but also convey an emotional truth about the model. The images that have had the greatest impact on me are the ones that I have wanted to sit down and have a conversation with; images that I felt were talking to me, in their own way. I have little interest in backgrounds or settings, seeing them as props and stages that detract from the singular integrity of the model. A single figure or portrait is so ripe with dualities and relationships – between the artist and model, the individual and universal, the past and the future, the corporeal and the sublime – that too much else is distraction.