My practice is centered on a material dialogue with the forest. Each work begins as an encounter, with ink, sculpted paper, mica, ground stone, paint, and found natural elements layered with marks that carry both intention and accident. I often bury raw canvas for seasons at a time, allowing soil, weather, and time to leave their own record. These processes create substrates shaped as much by the land as by my hand.

The forests of Northern California are not so much subjects as collaborators. Bark fragments, beetle-carved patterns, and other natural forms become structural components, shifting the work into a space where drawing, painting, and sculpture converge. Through these materials, I explore how place holds memory and how the natural world journals events in ways we often overlook.

I am interested in the thresholds between what is visible and what is lost, how surfaces store histories, how remnants become evidence, and how connection can be sensed. The resulting works behave as layered documents: part artifact, part gesture, and part ecological and spiritual record.

Rather than answering the question "Where are we?" my work proposes that location, both physical and spiritual, is porous. We exist within multiple spaces at once: the remembered, the felt, the inherited, and the unseen.