My work positions the body as both site and method—an active threshold where sensation, memory, and material meet. Rooted in painting, the practice unfolds through video and projection, forming infinite loops that render painting performative and time-based. It integrates sound, textile, movement, and digital media to explore the body as a site of perceptual transformation.

From this ground, tactile and digital processes intersect to expand the “skin” of painting into an experiential field. Silverpoint, cyanotype, wax, and pigments embody transformation—oxidizing, shifting, and holding memory. Surfaces are cut, burned, stained, and scanned, then digitally reconstructed into mirrored projection loops that extend gesture infinitely, doubling and displacing image until it presses back on the viewer.

I draw from Butoh and Laban effort theory—movement practices that reveal impulse rather than fixed form—and from IRENE, a sound-recovery system that retrieves recordings from degraded material. IRENE becomes a conceptual model for process, where my images are deliberately built, dismantled, and reorganized. Its acronym—Image, Reconstruct, Erase, Noise, Etcetera—defines a continuous loop of construction and erasure that lets the work shift, repeat, and return through the viewer.

Recent projects extend these ideas across installation, projection, and performance. Efforts uses analog mark-making generated through repeated physical gestures, then scans and digitally layers those traces into large-scale drawing installations that make the rhythm and force of movement visible. Birth Marks recasts mother molds from paintings into mirrored loops that hover between absence and presence. Flare burns, cuts, and tears paintings, then digitally reconstructs and destabilizes form through saturated mirrored loops. Coryphaei carries this into live performance, where mirrored faces and repeated syllables drive language toward noise. That Obscure Object of Desire reconstructs stripped canvas grounds into graphic forms that allude to the body while withholding it. Unveiling strips paintings of their surface skin, exposing stains, threads, and tears that are reassembled into loops calibrated to the span of human attention.

Together, these projects examine how form endures through transformation, sustaining image as living process.

My research investigates drawing as a movement language—a durational method through which gesture, breath, and temporal structure generate visual knowledge.

Drawing Within, my long-form research arc, examines how the body thinks through movement, how perception shifts over time, and how repetition, interruption, and embodied sensing shape form. This inquiry forms the basis of my book manuscript, Drawing as a Movement Language, which positions drawing as an investigative system rather than a representational one.

This framework extends into my teaching, where students engage drawing as a durational and perceptual practice that links sensation, movement, and emerging form.

“Drawing happens in real time, through a body that changes moment to moment, on a surface with its own material properties, with tools that respond unpredictably to pressure and speed. Drawing is encounter, not execution. The page you imagined isn’t the page you have; the hand you expected isn’t the hand that showed up. In the gap between plan and reality is where the practice actually lives—not in enforcing an intention, but in discerning what the material moment makes possible.

Persistence becomes elasticity rather than rigidity, intelligence rather than force. Endurance emerges not from pushing through resistance but from following what resistance reveals: a capacity to stay present to what’s unfolding, mark after mark, without needing to know the endpoint in advance.”

Excerpt from Drawing as a Movement Language: Persistence and Endurance