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This work is part of a series based on experience of looking at the water and sky at the same time while walking my dog outside my studio which is surrounded by the San Francisco Bay
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This painting was included in the The de Young Museum’s The de Young Open an exhibition of Bay Area artists created in response to the pandemic. Approximately 800 artworks were selected from over 11,000 entries. Click here to watch a video tour of the exhibition by EMS Arts andhereto view a time lapse video of me working on this painting.
Dimensions: 60”H x 70”W x 1.5”D
Similar work available as commission
Similar painting available as commission
The title of this painting is intentionally left ambiguous; it is not clear whether the painting is the darkest day or lightest day of the year. My work deals with opposites, and I wanted this large painting to feel both warm and cold at the same time.
The painting is an emotional representation of nature and refers to the sensations experienced when looking at a horizon on the water and seeing the sea and sky at the same time. The title comes from the acronym for the decommissioned naval base where I paint: San Francisco Hunters Point and neighborhood of the same name where I live. This work is the part of a larger series based on that area, and the number designates their order completed.
When I started this painting, I had recently seen Monet's waterlilies in an exhibition. I bought the postcard to send to a friend. I put the postcard in my studio but never sent it. I didn't realize it at the time but the colors and brushstrokes of this painting were heavily influenced by Monet.
In Italian, "rubare" means "to steal," and "tempo" means "time." In music, tempo rubato refers a change in tempo, often the speeding up and then slowing down of the tempo. Some of the time in measures is stolen by others. The music changes yet remains the same and goes back to the way it was before the change. This resonated with me because it is akin to the process of painting abstraction; there is a tempo in the act of painting and sound in color. I sometimes have a predetermined idea about a painting when I start it and sometimes that concept remains but it often changes and has many iterations by the time the painting is finished. I’ve always felt art is capable of eliciting sound if we take the time to listen.
SOLD • Similar work available as commission
Similar work available as commission
Similar work available as commission
Similar work available as commission
SOLD • Similar work available as commission
SOLD • Similar work available as commission
*Similar work available as commission
This painting was done during the pandemic and is comprised of many textured, small brushstrokes. This time-consuming technique reflects the additional hours spent in my studio during the initial lockdown, as well as the indistinguishable distortion of time. The repetition of the textured strokes in different colors signifies the collective experience of how the world was confronted with the same problem but not the same resources. In the painting’s gradation of colors, the light is at the top and prevails over the darker hues at the bottom of the painting. This relates to how the pandemic taught me to appreciate all of the positive things I have in my life instead of focusing on the things I did not have.
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Dimensions: 20”H x 24”W x 1.5”D
Medium: Acrylic, mirror, and resin on panel
Year: 2020
This work is one of four mirror paintings based on photographs of water I’ve taken while traveling. This mini-series was started in 2020 at the onset of the pandemic, and while I enjoyed the solitude and studio time of life under lockdown, I longed to travel and especially missed the very idea of being able to plan a trip. Instead of focusing on where I couldn’t go because of covid-19, I started reminiscing about where I have been. I revisited my collection of printed and digital photographs of water that I have taken while traveling.
The photos document the varying shades of blue in the water but also part of my life. Because of this autobiographical aspect, I painted on mirrors. Although this series resembles my previous Voicemail Paintings, the method of creation for these paintings is much more involved. The individual pieces of dried acrylic paint are initially removed from the mirror then delicately cut by hand and rearranged visually before being permanently fixed to the mirror and then sealed with a coat of epoxy resin. The 20x24” mirror is then mounted on a 18x24” white panel; this slightly smaller panel allows the painting to feel light like it is floating off of the wall.
The time consuming and precise nature of creating each work was intentional as it recalls the ample free time of the quarantine. The title of each painting references the latitudinal coordinates on the Earth’s equatorial plane of the city or country where the photo of water was taken.
Dimensions: 20”H x 24”W x 1.5”D
Medium: Acrylic, mirror, and resin on panel
Year: 2020
This work is one of four mirror paintings based on photographs of water I’ve taken while traveling. This mini-series was started in 2020 at the onset of the pandemic, and while I enjoyed the solitude and studio time of life under lockdown, I longed to travel and especially missed the very idea of being able to plan a trip. Instead of focusing on where I couldn’t go because of covid-19, I started reminiscing about where I have been. I revisited my collection of printed and digital photographs of water that I have taken while traveling.
The photos document the varying shades of blue in the water but also part of my life. Because of this autobiographical aspect, I painted on mirrors. Although this series resembles my previous Voicemail Paintings, the method of creation for these paintings is much more involved. The individual pieces of dried acrylic paint are initially removed from the mirror then delicately cut by hand and rearranged visually before being permanently fixed to the mirror and then sealed with a coat of epoxy resin. The 20x24” mirror is then mounted on a 18x24” white panel; this slightly smaller panel allows the painting to feel light like it is floating off of the wall.
The time consuming and precise nature of creating each work was intentional as it recalls the ample free time of the quarantine. The title of each painting references the latitudinal coordinates on the Earth’s equatorial plane of the city or country where the photo of water was taken.
Dimensions: 20”H x 24”W x 1.5”D
Medium: Acrylic, mirror, and resin on panel
Year: 2020
This work is one of four mirror paintings based on photographs of water I’ve taken while traveling. This mini-series was started in 2020 at the onset of the pandemic, and while I enjoyed the solitude and studio time of life under lockdown, I longed to travel and especially missed the very idea of being able to plan a trip. Instead of focusing on where I couldn’t go because of covid-19, I started reminiscing about where I have been. I revisited my collection of printed and digital photographs of water that I have taken while traveling.
The photos document the varying shades of blue in the water but also part of my life. Because of this autobiographical aspect, I painted on mirrors. Although this series resembles my previous Voicemail Paintings, the method of creation for these paintings is much more involved. The individual pieces of dried acrylic paint are initially removed from the mirror then delicately cut by hand and rearranged visually before being permanently fixed to the mirror and then sealed with a coat of epoxy resin. The 20x24” mirror is then mounted on a 18x24” white panel; this slightly smaller panel allows the painting to feel light like it is floating off of the wall.
The time consuming and precise nature of creating each work was intentional as it recalls the ample free time of the quarantine. The title of each painting references the latitudinal coordinates on the Earth’s equatorial plane of the city or country where the photo of water was taken.
Dimensions: 20”H x 24”W x 1.5”D
Medium: Acrylic, mirror, and resin on panel
Year: 2020
This work is one of four mirror paintings based on photographs of water I’ve taken while traveling. This mini-series was started in 2020 at the onset of the pandemic, and while I enjoyed the solitude and studio time of life under lockdown, I longed to travel and especially missed the very idea of being able to plan a trip. Instead of focusing on where I couldn’t go because of covid-19, I started reminiscing about where I have been. I revisited my collection of printed and digital photographs of water that I have taken while traveling.
The photos document the varying shades of blue in the water but also part of my life. Because of this autobiographical aspect, I painted on mirrors. Although this series resembles my previous Voicemail Paintings, the method of creation for these paintings is much more involved. The individual pieces of dried acrylic paint are initially removed from the mirror then delicately cut by hand and rearranged visually before being permanently fixed to the mirror and then sealed with a coat of epoxy resin. The 20x24” mirror is then mounted on a 18x24” white panel; this slightly smaller panel allows the painting to feel light like it is floating off of the wall.
The time consuming and precise nature of creating each work was intentional as it recalls the ample free time of the quarantine. The title of each painting references the latitudinal coordinates on the Earth’s equatorial plane of the city or country where the photo of water was taken.
Dimensions: 76”W x 48”H x 3”D. Each of the three totems that make up this unique artwork is 76”W x 12”H x 3”D. Artwork can be hung either horizontally or vertically. The interlocking design and corresponding pieces reference spiral strands of DNA
Medium: This piece is made from dried acrylic paint scraped off of my palette, saved, sorted by color, then cast individually in trays so as to create color blocks (which required multiple resin pours and sanding each piece in between), mounted on wood support, and then evened by sanding and additional layers of resin. The last step of this piece took over three months. The creation of this pieces used many supplies, including over 30 gallons of Art Resin, 200 moulds, and over 150 sanding disks for three different types of sanders.
Year: 2017-2020
Additional info: The title of this piece is a reference to DNA and was used by Rosalind Krauss, the female scientist who first discovered DNA despite never receiving proper credit for this achievement.
Acrylic and resin on mirror
Acrylic on canvas
SOLD • Similar painting available as commission
SOLD • Similar work available as commission
This painting is made from leftover resin scraped off the floor, sanded, heated and sculpted to create a three dimensional painting for my murmuration series
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The title refers to "the aerial ballet" performed when hundreds or thousands of birds fly in swooping, intricately coordinated patterns through the sky. It's a defense mechanism; the birds strive to put distance between themselves and their predator. The movement of the flock is never led by an individual bird, but is governed by all of the birds.
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This painting is part of my Murmuration Series, which refers to "the aerial ballet" performed when hundreds or thousands of birds fly in swooping, intricately coordinated patterns through the sky. The time of day in the title is left intentionally ambiguous, so the viewer can determine if it is morning or dusk.
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This painting is part of my Murmuration Series, which refers to "the aerial ballet" performed when hundreds or thousands of birds fly in swooping, intricately coordinated patterns through the sky. A lot of my paintings are grayscale, and I wanted this painting to feel warmer (like the first days of Spring) while still working primarily with cool colors.
Acrylic on canvas • 2016
The title refers to the 2016 Presidential election.
This painting and its title refer to fleeting moments that inadvertently shape our lives. In chaos theory, these small changes that result in large differences are known as the butterfly effect. In our everyday lives, is not fate, not luck, not serendipity, not chance, not coincidence, but a combination of all of the above.
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SOLD • Similar work available as commission
SOLD • Similar work available as commission
The title of this painting refers to airport codes. When I was 20, I went to Europe alone. I rode trains across France and Spain, and the landscape reminded me of California. Several months later, I traveled via train from Los Angeles to San Diego. The passing scenery outside now recalled Barcelona. These parallel images of distant places lingered in my mind; I did not do the first (and smaller) version of this painting until a decade later.
