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Image 1 of 1
Image 1 of 1
Image 1 of 1
48×36 inches, oil on canvas, 2026
I started Afterglow nearly ten years ago. It spent most of that time unfinished, leaning against a wall in storage while I chased other ideas.
After years of painting orange trees, landscapes, and abstract work, I found myself thinking about it again. When I finally brought it back into the studio, I realized what it had been waiting for. It needed to become a bridge between two sides of my practice: abstraction and representation.
I embraced the bright oranges from the original painting but pushed the contrasts further, introducing deep blues and richer oranges to create and compress space at the same time. Up close, the painting dissolves into color, texture, and gesture. From a distance, those same marks become trees, light, and landscape.
I wasn’t interested in painting a specific place. I was interested in creating a place that felt familiar. Somewhere between observation and memory, between abstraction and reality.
Afterglow exists in that space.
48×36 inches, oil on canvas, 2026
I started Afterglow nearly ten years ago. It spent most of that time unfinished, leaning against a wall in storage while I chased other ideas.
After years of painting orange trees, landscapes, and abstract work, I found myself thinking about it again. When I finally brought it back into the studio, I realized what it had been waiting for. It needed to become a bridge between two sides of my practice: abstraction and representation.
I embraced the bright oranges from the original painting but pushed the contrasts further, introducing deep blues and richer oranges to create and compress space at the same time. Up close, the painting dissolves into color, texture, and gesture. From a distance, those same marks become trees, light, and landscape.
I wasn’t interested in painting a specific place. I was interested in creating a place that felt familiar. Somewhere between observation and memory, between abstraction and reality.
Afterglow exists in that space.