Bio:

My connection to the landscape is neither cerebral nor intentionally poetic; it stems from an intimate bond with memories accumulated over a lifetime. My aim is to celebrate the beauty of the lush New England landscape, which was entirely new to me when I moved to Connecticut as a child. At the time, I didn’t realize I was forming a deep connection to the sound of air swaying through trees and the flickering play of light through the leaves. These themes would later become central to my work.

In 2009, I began painting outdoors, capturing the essence of places like Central Park, Prospect Park, the Hudson Valley, the Catskills, and even parts of Italy and France. Painting from life in these locations allows me to record both the imagery and the experience, storing them in my mind. Whether looking out a car or train window, walking down the street, or simply observing, I’m constantly collecting landscapes. When the time comes to create, I weave these images together from memory.

As my work evolved, monotype became an essential part of my practice. This immediate and fluid printmaking technique enabled me to draw from my reservoir of memories and quickly assemble them on the copperplate. I began to work from memory and imagination, a process that naturally extended into drawing.

When creating from an internal source of reference, emotion inevitably finds its way into the work. As Paul Cézanne once said, “A work of art which did not begin in emotion is not art.” Whether through monotype, drawing, or painting, I lose myself in these landscapes—they are transportive. As I wipe ink from a plate or scratch the surface of paper, I’m constructing a sanctuary away from the raw, chaotic energy of the city. Unintentionally, these works often become romantic and nostalgic, reflecting both my reverence for nature and my memories of it.