My work is grounded in a deep reverence for the tradition of Old Master draftsmanship, yet it seeks to push that legacy forward by fusing it with contemporary technologies and materials. At the heart of my practice is the human figure, not merely as a subject but as a vessel for invention, emotion, and embodied knowledge. I approach the figure with a kin-aesthetic sensitivity—treating the body's internal sense of movement, gravity, and spatial awareness as essential to both form and meaning. This intuition shapes how my figures occupy space, how weight is distributed, and how light is imagined across a form.
Rather than observing and replicating the world as it appears, I construct images from within—deciding where light originates, where shadow falls, and how forms articulate themselves in a fully invented visual space. This synthetic approach aligns me more with the imaginative strategies of the Renaissance than with contemporary trends in realism. I see invention not as a break from tradition but as its most vital continuation. In my process, the drawn or painted figure is not bound by a fixed vantage point; instead, it’s shaped by an internal logic of form, weight, and design that serves the pictorial world I’m building.
By reviving the discipline of drawing as a generative act—one that invents rather than copies—I aim to create images that feel both timeless and timely. The fusion of classical structure with modern modes of making allows me to explore the human condition in new ways, offering viewers not a window onto the world, but a constructed reality in which the body, light, and space are in active, expressive dialogue.
Tools & Materials
My practice lives at the intersection of the traditional and the contemporary. I work fluidly across centuries of image-making tools—from the raw tactility of ink and paper to the precision of vector graphics.
On the traditional side, I often draw with pencil, Conté crayon, or dip pen. Ink wash, in particular, is a favorite medium—its tonal range and immediacy allow for both clarity and mystery, letting me explore light and form with a brush that responds to the body’s movement. These tools keep me grounded in the physical act of drawing: pressure, resistance, flow. They echo the discipline of Old Master studies, where the human hand remains central to image-making.
At the same time, I embrace the advantages of contemporary technology. My iPad is a studio in itself—a portable surface where I use apps that simulate the texture and behavior of traditional materials while offering the flexibility to edit, iterate, and invent freely. I also work with Adobe Illustrator, a program that removes all doubt that I’m working digitally. Its vector-based language, with its crisp outlines and sculptural clarity, lets me build images with a sharpness and intentionality that echoes the clean, graphic strength of engravings and academic drawings.
For me, traditional and digital tools aren’t in opposition—they’re collaborators. Each opens up different ways of thinking about form, gesture, and space. Together, they support my pursuit of a timeless visual language reimagined for a modern world.