Curiosity and working with my hands are the two forces that drive my creative process. I grew up around construction sites, where materials, tools, and structure were part of daily life, and that early exposure rooted me in a love for earthy, tactile things. Over time, my formal training in realism evolved into something more expressive and imaginative, shaped by study, experimentation, and lived experience.

The human figure, especially the face, is central in my sculptural work. Whether it’s a reclining pose that feels at ease or a gaze that invites quiet conversation, I want my pieces to live comfortably in someone’s space, not just occupy it. In painting, I explore more widely: sometimes figurative, sometimes non-objective, sometimes landscapes, but always with motion, rhythm, and transformation in mind.

I work primarily with clay (both natural water-based and synthetic oil-based), and in painting, I use a mix of acrylics, oils, oil sticks, and pastels. My practice is physical and layered, a constant back-and-forth between instinct and control, structure and freedom. I’ve always loved to travel (I had a passport before I could walk), and that joy in movement, discovery, and shifting perspectives runs through everything I make.

My background in construction and business gave me an early respect for design and structural integrity. I didn’t start formal art training until later in life, but creativity surfaced through hobbies like sewing and cooking. When I began studying realism, I also explored architectural design as a return to the foundation I came from.

My work sparks an appreciation for the human form and opens a space for reflection or dialogue. I'm constantly evolving. Lately, I've been incorporating more mixed media into sculpture and chasing new materials and methods through workshops and travel. Art, for me, is a lifelong exploration grounded in form, and always reaching toward something new.