My work is less about recording a place exactly as it looked and more about capturing how it felt to be there. I paint primarily using a wet-on-wet watercolor technique on 300 lb. cold-press paper, often fully submerging the paper in water for 10–15 minutes before I begin. Once it's saturated, I work quickly and intuitively — usually no under-drawing, no fixed plan — racing the paper as it dries over the next one to two hours.

This process is unpredictable by design. The pigments flow with a will of their own, drying lighter than they go on and separating into the organic textures that give watercolor its character. Rather than fight that unpredictability, I lean into it — using super-granulating pigments, watercolor sticks, salt, and lifting or scratching techniques to coax out texture and atmosphere. Each piece carries an element of surprise; the medium feels less like a tool and more like a collaborator. The more I work with it, the better I understand how a given pigment will settle and behave, which lets me guide that controlled chaos toward the feeling I'm after — something ethereal, alive, and true to the place or memory it holds.

Ultimately, my goal is to create expressive, joyful imagery of the places, people, and memories that give this life its meaning.

California Coastline, Watercolor 16x20

On the Blue Ridge Parkway, Watercolor 16x20

On the Sound, Camp Seafarer, Watercolor 12x16