As an architect and educator, my paintings are informed by a measured way of seeing and recording spatial relationships between space and form, picture and frame, objects in contexts. Free from the constraints of gravity and utility that govern architectural projects, my paintings explore the layering of visual experience through color, tex ture, and implied depth. These works investigate how the two-dimensional surface can evoke spatial memory by manipulating opacity, hierarchy, and associations to shape and color within an architectural frame.
I am particularly drawn to the tension between structure and softness. The interplay of precise linework and muted color serves as a primary compositional device in my work . A feathered line may suggest perspectival depth, while a sharp, contrasting mark collapses that illusion, returning attention back to the painted surface. Within the boundaries of the painting, foreground and background continually exchange roles, compelling the viewer to hold the image (the memor y) and the frame (the architecture) as equal and active par tners. While my work often references landscapes, the subject matter remains secondary to these spatial investigations, allowing the work to conjure up multiple readings.
The bodies of water that shape this New Orleans are embedded in my visual memory and inform the restrained palette of my paintings. Saturday mornings spent at the Fly, watching ships drift past the soccer fields have sharpened my attention to human-made forms suspended on water along the industrial datum of the Mississippi River. Adventures with my children to the Barataria, walking our dog along the levee, and picnics on the bayou have influenced the visual vocabulary of my work . Folded into the framework of my architectural training, these observations tether my paintings to a sense of place while inviting viewers to connect with their own remembered landscapes.
