Oxford Dusk, Queen St.
Watercolor, 2019
Castle Combe
Watercolor 2019
Round the Bend
Watercolor on paper, 2022.
Vale Near Pen y Fan
Watercolor on paper, 2021.
Eald Widu (Old Forest)
Watercolor on paper, 2021.
Lost in Mist
Watercolor, 2015.
On hikes up the mountain ridges of Oahu, one often finds oneself suddenly enveloped in mist. The sense of solitude amid quiet beauty is profound, and I sought to convey that feeling in this painting.
The Fiske Doors of St. Mark's, Philadelphia
Watercolor, 2019
Kilns Door
Watercolor on paper, 2020.
Tintern Sun
Watercolor on board, 2019.
Protea Bouquet
Watercolor, 2016
Alaskan Log House
Watercolor, 2019
Dance
Watercolor, 2023.
The Sea of Perelandra
Watercolor 2015
C.S. Lewis's Perelandra remains one of the most visually striking books I have ever read. In Lewis' imagination, the planet Venus is covered with a powerful ocean, under a sky of "pure, flat gold like the background of a medieval picture." My aim was to capture the description of a beautiful, vibrant, powerful, desolate place.
Roads III: Banners of Siem Reap
Oil on canvas, 2011.
On a trip across Cambodia, I was struck by this avenue in the city of Siem Reap. Movement was everywhere: banners blowing in the breeze, mopeds scuttling along noisily, people walking and trees gently swaying. I wanted to convey the dynamism I felt when I was present in this place.
Roads II: North Shore Oahu
Oil on canvas, 2011.
Hawaii once boasted acres of pineapple and sugar cane fields; now these areas have all but disappeared. This road, cutting through one of the few remaining pineapple fields, holds personal significance from the many drives I took along it growing up. My painting explores the layers of present beauty, past history, and uncertain future coexisting in one space.
Roads I: Midwest in Springtime
Oil on canvas; 2011.
In my Roads series I wanted to explore different landscapes and the elements connecting them. I used photos capturing significant moments from my own trips. Traveling often affords just a glimpse of a particular beauty—one look, and you are past it. These paintings attempt to convey a few such moments.
"Roads I: Midwest in Springtime" depicts a farm in rural Ohio. I was struck by the colors of the early grass, the patterns of wear and repair on the road, and the stark trees made softer by distance. Using a palette knife allowed me to focus on the color and space of the whole environment, rather than getting bogged down for too long in any individual element. I concentrated on conveying the feeling of silence and peace held in the original piece.
The Ford of Bruinen
Watercolor, 2019
Snow on the Fire-Bush
Oil pastel, 2009.
Return to the Golden Wood
Oil on canvas; 30x20 inches.
This was my first attempt at painting with a palette knife, and I tried to strike a balance between the vibrant fall colors and the textures present in the leaves, tree trunks, and grass.
Three-Four-Two and a Half
Watercolor on paper; 11x14.5 inches.
Doors fascinate me. They hold such mystery and possibility. I chose to paint this because I loved the blue bricks with the red peeking through cracked paint; I loved the reflections on the windowpanes; I loved the whiteness of the door and its unique address painted on the front.
Storm over Shrimp Farms, Oahu
Watercolor on paper; 12x8 inches.
I started with a photo I took myself on the North Shore of Oahu, Hawaii, when a sudden change of weather provided an excellent study in clouds. I experimented with pushing colors just a bit beyond the natural palette for a more story-like feeling to the landscape.
Limes and Oranges
Watercolor on paper; 13x10 inches.
A study in natural shapes, as well as the interplay of color within light and shadow. I love the inherent brightness to citrus fruit, and the luminosity of watercolor seemed a natural fit to portray it.
Sisters
Watercolor, 2011.
Autumnal Universe
Oil pastel on paper, 12x12in.
Plumeria Close-Up
Oil pastel on paper, 12x12in.
Heliconia Haze
Acrylic on paper sheet; 11x17 inches.
This work was an experiment with shape and movement. I sought to complement the heliconia flower bloom with an abstract, colorful background, which would evoke organic forms while still nesting the subject in an unusual and unique context.
Same Same But Different
Watercolor on paper; 12x8 inches.
I developed a love for painting watercolor portraits in college. This image is both a portrait study and a memory preserved—it portrays a young boy I briefly met in Cambodia, who repeated to me the informal slogan of the nation, "Same same but different." When I asked him if I could take his picture, he consented, posing for me quite solemnly.
The Garden Cathedral
Watercolor, 2017
