I am interested in how softness can carry pressure, and how beauty can function as a structure rather than simply an effect. My paintings and drawings move between atmospheric abstraction and a more classically inflected sense of composition and touch. The work is built around tensions between the ethereal and the physical, delicacy and force, beauty and unrest.

My current work also engages the historical opposition between beauty and the sublime, particularly the gendered assumptions embedded within that distinction. In much of Western aesthetic discourse, beauty has been aligned with qualities such as harmony, delicacy, pleasure, ornament, and containment. Qualities often coded as feminine. The sublime, by contrast, has been associated with vastness, terror, rupture, transcendence, and force, qualities more often aligned with masculine power. I examine this division by locating intensity, instability, and even violence within beauty itself.

My paintings often begin with atmospheric openness: pale color, veiled transitions, organic forms, and a sense of bloom, mist, or light. Yet I want that softness to resist passivity. The surface becomes a place where gesture, pressure, and interruption complicate the initial delicacy of the image. Marks scrape, dissolve, accumulate, or destabilize the space. What may first appear romantic or ethereal begins to suggest something more bodily, volatile, or psychologically charged.