I make image-objects. Starting from direct observation, I edit and overlay organic and geometric passages to interrupt realism with abstraction. In this way my paintings and works on paper disrupt conventions of landscape, still life, and portraiture. Each field is a tentative integration of opposites, a structured space where details from nature—seedpods, berries, a single leaf—intersect with partial family portraits or pastoral views. Near and far, literal and imaginary, my images resist the perfection of closure, and yet it is the harmonics of color and composition that knits the fragments back together. In the end, I am a classicist. Seeing the here and now as layered realities—past/present, personal/natural history—my work is a complex and imperfect poesis. It is always a bit unstable and idiosyncratic, but ultimately it strives to be essential and intrinsically humane. Print