Medium: Oil Paint on Chipboard and Masonite

Dimensions: 18”x30" 


In Pilgrims, I explored the meaning of aura—the flow of energy around one’s body. Through the visceral quality of oil paint and the miniature scale of the figures, I create intuitive and momentary brush strokes that speak to the unique existence of a person in time and space. I then placed the miniature paintings next to each other in a grid format to find and illustrate the relationships and interdependencies of people.


Detail Images

Medium: Oil Paint on Chipboard and Masonite

Dimensions: 2”x2” 


An important element of the pilgrims I paint is that you never know who they are or what they are going to morph into. I maintain the ambiguity of the figures in order to illuminate the importance of the ‘other’ in the formation of the human aura. Amidst this ambiguity develops a deeper compassion and empathy for the people in my work and the spaces they move through.

Mylar installation detail6.jpg


Medium: Oil Paint on Chipboard and Plexiglass

Dimensions: 170”x70”

I started to form narratives about the nature of people by grouping and connecting certain figures. In Pilgrimage, I break out of the grid format to examine an archived sequence of moments as it relates to the masses and the landscape. This process is a recollection of my ephemeral moment when I observed pilgrims’ leave traces of themselves on the beach sand. In that instance, I recognized that the mineral memory of sand records the passage of time; it became a window into understanding the impermanence of things.

Through the arrangement of the miniature paintings, I visualize the rhythms of nature in relation to the movement of the masses. I see the pilgrims’ movement as crossing borders and breaking the boundaries of thought and experience—which speaks to the very essence of journeys. Furthermore, Pilgrimage corresponds to the organic formation of identity, how it is always in process, and never a fixed essence. 


Detail Images


The atmospheric element of the landscapes refers to the momentary realities they represent. In this aspect, the landscapes have also become extensions of my fleeting moment in India—they are constantly in flux, and alive just like the people that pass through them.


The Pathways of Barefoot Pilgrims

In “The Pathway of Barefoot Pilgrims” I wanted to further explore the dialogue between people and landscape. Wood grain as a material speaks to the constant flux that exists in both landscapes and the formation of identity. In parallel, I was thinking about grains of sand and how every grain has its own history, but ultimately each  grain becomes part of a larger landscape. The variations of grains and knots have something powerful to say about the nature of human existence. To this end, the wood grain becomes an additional layer of experience and meaning in my work.