Artist Timeline

I call this one 'Tres Souls.' I built three fragmented faces from geometric planes—cobalt blue, sunlit yellow, vivid red, and cool white—to portray shifting emotions and overlapping identities. The layered composition plays with light and shadow to convey tension and quiet at the same time.

Presents a striking abstract portrait where bold blocks of red, yellow, and blue intersect with sharp white lines, creating a fractured yet compelling visage. The piercing blue eyes and vibrant red lips convey a sense of intensity and emotion amid the dynamic composition. This modern expressionist piece invites contemplation and adds a vivid, artistic energy to any space.

I painted 'Duality Faces' to explore contrast—two fragmented profiles woven together with bold patches of blue, red, yellow, and white. The intense blue eyes hold the composition and (to me) suggest a quiet, searching exchange between the two figures.

When I painted 'Why,' I wanted to explore how color can both separate and connect faces. Bold planes of red, blue, and muted gold form simplified features that portray layered feeling and quiet tension. I pared the composition down so shape and color do the talking.

I painted a half-portrait of Buddha in a reduced, monochrome palette and used layered circular texture to let the face quietly emerge from shadow. A thin band of yellow and a subtle pink line were deliberate accents—small moments meant to guide the eye and invite reflection.

I painted this to play with contrast and how a single color changes what a face conveys. The composition pares the portrait down to black and white, while oversized yellow lenses reveal eyes that feel both sharp and unreadable.

Pensive Conquistador presents a solemn figure deep in thought, his eyes closed beneath a wide-brimmed hat that shadows a weathered face. The interplay of muted golds and stark...

This is 'Conquistador'—a profile I painted of a bearded man in a wide-brimmed hat. I used amber and ochre against deep shadow, then traced a bold white outline to lift the figure from the background. The piece portrays quiet determination and a rooted presence.

I named this piece 'Blue' as a quiet nod to the mood I wanted to explore—a white horse in profile set against a muted gold ground. I worked the brushwork to emphasize light and shadow so the contours and calm expression read from across a room.

A deliberately ironic title for an elephant shown in dynamic grays against a bold yellow field. I used loose brushwork to reveal form and texture, letting highlights on the tusk and ear guide the eye. The composition presents strength and quiet motion rather than literal detail.

I painted 'Church' to portray a quiet alley where a dome rises into a moody sky. A pared-back palette of grays and blacks is punctuated by bold red at the building bases; simplified forms and textured brushwork convey a calm, reflective solitude.

I painted a TV-headed figure standing under a white moon against a red sky, skirted by black buildings with glowing windows. It portrays urban disconnection—the TV feels like both signal and silence.

As a split-field scene—red, blue, yellow—where a TV exhales a ribbon of color that turns into graffiti-like forms. The small figure with red balloons and a spray can anchors the story with a restless, urban edge.

It portrays a tangle of traffic signs and signals set against a swirling blue field—bold reds, yellows, and blacks push and pull across the canvas with thick brushwork to convey city motion.

My new abstract made from layered circular forms. I worked the paint so warm reds and yellows settle at the base and lift into soft, misty whites above; the circular brushwork reveals movement and pockets of light.

I wanted a single red form to cut through a chaotic network of black lines and drips—it portrays tension and a sudden release, like a pulse or a rose pushing up through ruins.