I studied painting at the Parsons School of Design and The Art Students League in New York City and received my Masters of Fine Arts at The Art Institute of Boston. I have made a living as a large format commercial scene painter in New York City and, concurrently, as a small format natural history illustrator for newspapers and magazines.

My personal work is influenced by these two disparate and life long practices but is a decided and necessary retreat from them. My large format work has influenced my method of painting (splashing, pooling, dragging paint with 3' handle brushes onto floor stapled canvases) and my small illustrative work has helped educate me in my natural history subject matter. I believe the power of nature lies beyond the caliper and in that liminal zone between mind and matter — there can be a delicate bridge leading to a deeper understanding of life. These paintings in particular address different perspectives of reality — how we can see the macro and the micro, the object and the brush stroke, the order and the chaos, all at the same time. These ideas are companions to my work, they propel me and keep me intellectually connected to the world. But a painting, first, is a physical entity. Each piece is a visual balancing act weighing light with dark, smooth with rough and deliberate with accidental. Somehow this balancing act of opposites has the potential to address deep and untethered parts of the mind.