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 Abstract Expressionism, 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 how impulse and internal movement become external trace. Impulse is understood as a felt, bodily initiation that does not end when it takes form, but continues as it passes through material, image, time, and encounter. Drawing from Butoh, Laban effort theory, and emergence-based practices, my work privileges process and continuity over fixed form or resolved outcomes.

The work begins with felt impulse in the body—pre-verbal, rhythmic, and responsive—encountering resistance. That resistance produces pressure against material, surface, and duration. Impulse does not resolve at the moment of contact; it continues through repeated engagement, altering and fragmenting as it moves forward. From this necessity, the practice unfolds across painting, video, projection, installation, and digital reconstruction, tracing how impulse relocates across material and temporal states without settling into a single form.

This research is organized as a repeatable system in which physical material actions generate residues that are digitally reactivated and structured through temporal looping, allowing impulse to be observed across multiple states rather than resolved in a single outcome.

My five-year research arc (2026–2030) unfolds within this fixed system rather than as a sequence of separate projects. Within this arc, a set of recurring themes comes into focus, including threshold states and emergence, residue and recurrence, risk and indeterminacy, gesture and attention as modes of thought, and continuity into future states of practice. These themes recur and overlap rather than unfolding as discrete, sequential phases, allowing the research to deepen without resetting its terms.

This arc anchors a book manuscript in progress, Drawing as a Movement Language: A Philosophy of Practice for Abstract Markmaking, which articulates the theoretical and pedagogical dimensions of the research. The manuscript positions drawing not as a representational skill, but as an embodied inquiry that trains attention to sensation, effort, and rhythm as generators of form.

Drawing Within, my ongoing research platform, extends this work into public practice through essays, audio-based drawing sessions, and workshops. It bridges studio research, somatic methodology, and community-facing pedagogy, making the work accessible while remaining grounded in lived bodily experience. Together, my studio practice, writing, and teaching form a single inquiry into how impulse moves, survives passage, and remains active without settling into fixed 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