Studio Visit

I’m in the middle of a few large paintings right now, working through a series of figurative scenes drawn from my life. I’m thinking about light moving through rooms, about children passing in and out of view, and about how memory can compresses time into a single picture.

Below are a small group of finished paintings that are still here in my studio. They came out of this same way of working and are part of an ongoing body of work.

You’re welcome to look closely. If you’d like more information, or want to talk through a piece, just reach out.

Paintings currently in my studio

Favorite Son

80x60 inches / Oil on Canvas / 2021-2023 / $21,000
Available

This painting developed out of a scene from my own life and changed shape over time. Midway through working on it, I noticed compositional similarities between what I was building and the Italian Mannerist painting Joseph Sold to Potiphar by Pontormo. Seeing that connection gave me a way to understand what the painting was already asking for, and I pushed the composition further, leaning into a serpentine movement of figures that fold forward and back through the space.

As the painting developed, it became important to me that my son look directly out at the viewer. That decision changed the emotional weight of the image. The title Favorite Son emerged from that moment. I borrowed it from Pontormo’s painting, which tells the story of the favored son, and it points toward affection and hierarchy, but also toward vulnerability, toward what it means to be singled out and seen within a family structure.

I worked from many photographs taken over time, including images of my son taken about a year apart, intentionally compressing time within the painting. Time compression allows multiple moments to coexist, not as a narrative device, but as a way of staying faithful to how memory and lived experience actually operate.

The scene sits at a threshold, between inside and outside, work and rest, summer and its ending. I’m less interested in describing a single moment than in staying with it long enough for its meaning to take shape through revision, accumulation, and the passage of time.

Exhibited at:
Concord Arts Center, Concord MA, 2025, Motherhood as Muse

Girl After Nap

36x23 / Oil on linen on panel / Oak strip frame / 2023 / $4,800
Available

This painting comes from a small, ordinary moment. Afternoon light moves through a window at the end of the hall while a child sits quietly after waking from a nap. She looks out, still heavy with sleep, lining up her glasses along the windowsill, watching the sand pile up.

I was interested in the pause more than the action. The way the room holds the light, the way her body rests, the feeling of time slowing. I wanted the interior to stay quiet and contained, so it wouldn’t compete with the brightness outside, letting the high-key exterior press gently against the darker, more compressed space of the room. Nothing is happening, and yet the moment feels full.

The painting sits between interior and exterior, rest and wakefulness. I’m drawn to these moments because they’re easy to move through without noticing, but later they’re the transitions that quietly accumulate and shape a life.

Exhibited at:
Carrie Haddad Gallery, Hudson NY, 2024, All Figured Out

Book of Hours

Book of Hours / 34x32 / Oil on linen / Oak Float Frame / 2024 / $5,200
Available

This painting changed shape many times as I worked on it. It began as a taller composition with two figures, but over time I edited one out, narrowing the focus to the boy alone in the rocking chair. That shift allowed the painting to be about the motion itself, the back and forth, the repetition, the over and over of parenting.

The space around the boy is partly observed and partly invented. One moment in the studio pushed the light in this painting toward a mix of literal observation and translation. I held the painted canvas up in front of an actual window and painted the light coming through from behind, placing a real window behind the figure. What began as an experiment became central to the painting, blending the constructed space with a direct experience of light.

The title Book of Hours emerged over the two-year process of making this painting. It refers to keeping time through repetition, attention, and the accumulation of days, rather than through clocks.

Exhibited at:
The Painting Center, New York NY, 2024, Being Human