Resonance

Beyond death there's a deserted beach where we call destruction darling and welcome her home.

A meditation on movement and memory. It captures the quiet force of wind as a sculptor of land and time.

The layered washes evoke sediment, erosion, and processes that shape not only terrain, but our inner landscapes.

A tactile cartography of the Todos Santos shoreline, this piece assembles found Pacific driftwood, shells, and seed pods into a deliberate, rhythmic narrative. Arranged on raw linen, these organic elements act as a wordless language, preserving the ephemeral beauty of a coastal stroll.

Artifacts explores the intersection of the artist's curation and the natural calligraphy of the sea, preserving a fleeting moment of tidal movement.

Painted with tea (Quilal, shou puerh, assam), Palo do Brazil incense, ash, rust and turmeric. Created through 108 tea ceremonies, this work gathers stains as both record and offering.

Like a set of prayer flags, it carries the traces of ritual into the world — presence, place, and time woven into its surface.

This panel recalls the first rain in Santa Fe, the river on the north shore of Kaua'i, and wood found in Joshua Tree, completing a cycle of ceremony.

A meditation on matter, memory, and the quiet authority of elemental marks. A field of ochre dust and pigment creates a surface that feels both ancient and newly formed — a terrain held in suspension.

At its center, a cruciform gesture emerges, not as a symbol of doctrine but as an imprint of force, a point where intention and material converge.

The work invites the viewer to consider dust not as residue but as origin: the material of beginnings, endings, and continual return.

What bleeds between the cracks of the mind.

Painted during a 10-day silent meditation retreat, this piece holds the tension between stillness and movement — a circle that cannot close, a line that will not stop. The cracked surface is not damage but record: the paste splitting open like thought itself, restless beneath the quiet. Enso interrupted. Presence, imperfect and alive.

Painted on the Pacific Coast of Mexico. Created among the cactus, beneath the burnt palms, this work is a meditation on endings and continuance.

The sea's movement, the mark of salt, reflect the heaving breath of the storm. They open a space where paradise is revealed not as escape but as presence within the passage.

Painted on the coast of Mexico. This work examines shells as skeletal remnants; calcium structures shaped by pressure, erosion, and repetition.

The piece grows out of quiet shoreline walks, where small discoveries reveal themselves only through attention.

Those collected remnants become a kind of field notation — an understated taxonomy of the tide, built from what the ocean forms, discards, and returns to the hand.

Painted in the high desert winds, this piece is a paradox — where earth is both thirsty and drenched, still and in motion.

Each mark is an imprint of surrender: to nature's force, to ritual, to the unseen choreography between dust, bloom & death.

Ink disperses across linen. Blooms into dry desert clouds, while subtle sigils surface like half-remembered stories.

The line mimics the British Columbian coastline where the piece was created — unhurried, unresolved. Warm sediment on one side, cool open space on the other. Scattered marks drift like stars, or debris, or both. The progression of a thought.

Some things can't be said — only pressed in, worked through, left on a surface and stepped back from.

Mud from Maui and Kauai massaged into raw cotton alongside Japanese sumi ink. Minerals and memory. A dirt road. A reckoning. The moment I got out of the way.

The kind of knowing that only comes from getting low to the ground — where the work goes feral and still at once.

This is what the land carries. This is what the body recognizes.