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Retina Memory began after a period of deeply internal work.
These paintings were not about a specific place, but about a state of mind.
Color became the structure, and everyday spaces became stages where light, memory, and feeling could meet.
Red and turquoise appear throughout the series, not as symbols but as companions, creating a constant dialogue between warmth and calm, tension and balance.
These works are about perception, about the quiet moment when a place feels both familiar and imagined at the same time.
CRUSHED
I’m drawn to familiar objects, taking them out of scale and giving them space to be seen differently.
In that shift, the flaw becomes the focus.
This piece is about that moment, when something gives in and settles into its final shape. Not perfect, but complete in its imperfection.
The contrast between red and blue carries the emotion.
It’s direct, almost physical. The tension holds the image in place while everything else falls away.
That’s where I find the balance, somewhere between control and collapse.
A twist
This piece comes from something familiar, the kind of small, everyday moment that stays with you without asking for attention. I was drawn to take that feeling and push it further, making it larger than life, almost exaggerated, but still recognizable. There’s comfort in that familiarity, in something you already know without having to explain it.The contrast between them creates a tension that doesn’t cancel itself out, it holds the image in place. The scene stays grounded in something simple, but the color keeps it moving.
Waiting for a fly
A red frog, still and alert.
There’s a slight sense of humor in it.
I kept it simple and held that moment in place.
The contrast between the colors creates a painted suspense.
Painted in oil with a palette knife.
24x36
On The Edge
The oversized black sphere rests on a narrow dividing edge between two opposing color fields, held in a position that feels both stable and impossible at the same time.I was interested in how a familiar object could shift psychologically through scale, contrast, and placement. The surface quietly folds away beneath it, allowing the shadow to reveal what is not immediately obvious, a balance that feels temporary, where even stillness carries pressure
Cry Over This
Perspective has a way of changing the size of things. What feels catastrophic in one moment can become insignificant in the next. Set against the push and pull of red and turquoise, emotion and perspective quietly compete for attention. Time has little patience for drama, and life rarely pauses long enough for us to hold onto every disappointment. Some things deserve our attention. Others simply ask to be left where they fell.
The Observer
The inspiration came from thinking about what happens when a very defined presence is placed in a divided environment. There is movement all around, but the subject remains still. The work is really about that relationship and that tension. A very present, very real subject, built with heavy texture and strong definition, placed in a divided environment. The space around it carries contrast, shadow, and movement, while the subject remains very still. Because of that, the environment almost takes the lead, and the subject becomes secondary, even though it holds all the presence and expression.
Painted in oil with a palette knife, the textured surface brings a human quality to a technological subject, turning an everyday object into a reflection on how we live today.
24 X 36 Inches
2026
Perch
This piece comes from an ongoing exploration of red and blue, and how far their tension can be pushed.
The image appeared unexpectedly, a fleeting moment while watching these birds in motion. I don’t have a particular attachment to birds, but this one stayed.
For weeks, I questioned whether to paint it.
In the end, the contrast made the decision.
Like other works in the series, the subject is secondary.
What matters is the moment it holds.
Perch is about control under pressure, held just enough.
24 X 36 Inches
2026
LOOKING OUT
Sometimes what catches our attention isn't where we are, but what's beyond the edge of our world.
In Looking Out, a familiar subject is removed from its expected surroundings and presented in isolation. The contrast between red and turquoise becomes central to the composition, shifting the focus from the object itself to the tension between color, context, and perception.
Oil on Canvas
Palette knife
Hot and Cold
The inspiration came from placing heat and cool within the same space and observing what happens when neither gives in. The warmth comes forward, the cool holds it back. Both are present, without resolving into one or the other.
The work is about that condition, where contrast does not cancel itself out, but instead defines the structure of the image.
Painted in oil with a palette knife, where texture, edges, and shadow define the image more than line.
Wired and ready to hang. Sides painted black
24 X 36 Inches
2026
Side A
I was fascinated by the memory of the object.
Not the record player itself, but the fact that something so ordinary can suddenly become beautiful when you isolate it, enlarge it, and force yourself to really look at it.
The red label against the turquoise. The black circle cutting through both. The geometry. The tension. The absurdity of making something everyday feel monumental.
EYE
An object designed to quietly observe becomes impossible to ignore. Enlarged beyond function, the surveillance camera shifts from everyday technology into psychological presence. The split field of turquoise and red transforms the emotional reading of the work, balancing detachment against tension, while creating a subtle sense of discomfort, the uneasy awareness of being watched.
24x36
2026
Hold On
I keep coming back to objects that once connected us physically to the world around us. This old rotary phone carries a strange tension for me, something familiar and comforting, but also heavy with silence. Against the turquoise background, the red becomes louder, almost urgent, while the disconnected receiver changes the meaning completely.
I wasn’t interested in nostalgia as much as the emotional weight of waiting, reaching out, or hearing nothing back. Like much of this series, the painting lives in the contrast, color against color, connection against absence, object against space.
Dependence
We carry the world in our hands, but we are also tied to it. Even cracked, it still feeds us. Even broken, we don’t let go.
This painting reflects our quiet dependence on the objects that connect us to the world. A cracked phone, still plugged in, becomes a small portrait of modern life, fragile, damaged, yet still a lifeline.
The composition is divided into strong fields of red and turquoise, creating tension and balance at the same time. The phone rests between these two worlds, suggesting both connection and separation, power and vulnerability.
Painted in oil with a palette knife, the textured surface brings a human quality to a technological subject, turning an everyday object into a reflection on how we live today.
24 X 36 Inches
2026
Noonish
Painted in oil using a palette knife, using impasto to build texture and give weight to the objects and the surface.
This piece comes from imagination, built from small, familiar elements. A simple moment, a table, a cup, things left behind. It feels real, like a place you have been before, even if you haven’t.
The painting invites you to pause in that moment, to sit with it, and feel the quiet presence of something ordinary that holds more than it shows.
24 X 36 Inches
2026
In The Open
Painted in oil using a palette knife, using impasto to give texture and definition to the object against a flat, controlled background.
This piece comes from imagination, taking something simple and placing it in a space where it doesn’t quite belong. The contrast between the object and the color fields gives it a sense of tension, but also a bit of play.
The painting invites you to look at something familiar in a different way, out of context, exposed, and slightly unexpected.
24 X 36 Inches
2026
The Yard
I painted The Yard because I’m fascinated by contrast.
The geometry of the modern buildings, the large red wall, the turquoise facade, and the simple line of laundry stretching across the space all seemed to exist in different worlds, yet somehow belonged together. The hard edges of the architecture are softened by fabric moving in the light. The ordinary becomes unexpected.
What interests me is not the story of the clothesline, but the visual tension it creates. The monumental and the everyday. The permanent and the temporary. The bold blocks of color against the quiet familiarity of daily life.
As with much of my work, the subject is only the starting point. What ultimately draws me is the relationship between shape, color, light, and contrast, and the way ordinary objects can become extraordinary when we pause long enough to really look at them.
Alley Side
Familiar, but imagined.
A moon, a wall, wires, shadows, and a court came together to create a place that does not exist, yet feels as though it should. Built from observation and imagination, the painting is driven by the tension between red and turquoise, warm and cool, creating a balance that is both uneasy and harmonious.
24 x36 Inches
2026
Waterside
Painted in oil using a palette knife, this work is built with layered impasto, where the texture gives movement to both the water and the structure.
This piece came from a sense of place that feels familiar but not fixed, somewhere between a house, a shoreline, and a passing moment. There is something slightly unexpected in the way the elements sit together, which gives it a quiet, whimsical feeling.
Rather than describing a specific location, the painting invites a personal interpretation, where color and form create a space that feels both real and imagined at the same time.
24 X 36 Inches
2026
The Warehouse
Painted in oil using a palette knife, using impasto to build texture and give weight to the surface.
This piece comes from imagination, like all my work, but it carries the feeling of an industrial space. Simple, direct, familiar. The kind of place you recognize without knowing where it is. You can almost feel the heat, the stillness, the quiet.
The painting invites you to sit with that atmosphere, to notice the weight of a place that feels real, even if it only exists here.
24 X 36 Inches
2026
Rooftop Glare
Painted in oil using a palette knife, this work is built with layered impasto, where texture gives movement to the light and keeps the surface active.
This piece came from the feeling of being in a place where the sun is present, but the moon is still visible. The light is strong, almost blinding, yet there is something calm and distant at the same time.
It is about that contrast, where warmth and coolness, day and night, exist together. The space feels open, but the atmosphere holds a quiet tension that doesn’t fully resolve.
24 X 36 Inches
2026
Coexisting
Painted in oil using a palette knife, this work is built with layered impasto, where texture and color define the space as much as the forms themselves.
The composition came from observing how different elements can share the same place without canceling each other. The red wall does not block what is behind it, it exists alongside it. The moon is present, even when the light suggests the sun.
This piece is about coexistence, how contrasting conditions, light and shadow, presence and obstruction, can exist at the same time without needing resolution.
24 X 36 Inches
2026
The Rental
There are places where the sun slows everything down. The air is warm, the water is close, and time seems to lose its importance. This painting is not about the scooter—it's about that feeling.The vivid red scooter becomes a quiet anchor against the endless blues of the sea and sky. Contrast is at the heart of the composition, not only through color but through texture. The smooth, open expanse of the horizon is set against richly worked surfaces where palette-knife marks and layered paint catch the light, giving the scooter and promenade a tangible presence. The interplay of calm, uninterrupted space with expressive texture creates a balance between serenity and energy.An everyday object becomes the focal point of a timeless coastal moment. The composition invites the viewer to linger, recalling places where the destination is secondary to the atmosphere itself—where the warmth of the sun, the scent of the sea, and the unhurried pace of life remain long after the journey has ended.
Somewhere Else
This painting began with an old truck that stayed in my head for a long time. I couldn't explain why, but it kept returning to my thoughts, asking to be painted.
At the same time, I wasn't sure it belonged to the body of work I was developing. Still, I chose to trust the impulse rather than question it. Some paintings arrive with a clear explanation, others simply insist on being made.
This piece is the result of taking a leap of faith and trusting the inspiration that came from within. The road, the landscape, and the truck came together naturally, guided more by intuition than intention.
In the end, it turns out this was never about the red truck, but about the road behind and the path ahead.
Oil on Canvas with
palette knife
24 x 36'"
2026
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