"Rooted Flux"

12 x 9 in., Acrylic on Canvas Paper

Marrowdrift Studios, 2025

“Rooted Flux“ explores the delicate balance between stability and transformation, inspired by the mangrove tree—an emblem of resilience in the face of constantly shifting tides. Painted during my time in Puerto Rico, the work reflects the intricate relationship between land and water, embodying the ever-present flow of life and the ability to remain grounded amidst turbulence.

The mangrove’s roots, firmly planted yet continuously impacted by the changing environment, symbolize the tension between being rooted and adaptable. The layers of green, purple, and white strokes evoke the fluidity of nature, while the solid foundation of the roots suggests the strength found in anchoring oneself while moving through the world.

"Rooted Flux" speaks to the quiet resilience of growth, the way that life constantly evolves, and the continuous process of adapting while remaining deeply connected to the foundations we build. It is a meditation on the transformative nature of resilience, strength, and the constant motion of being in a world that is always changing.

“Suspension Point"

Acrylic, ink, and graphite on canvas paper. 9" x 12" (unframed)

Marrowdrift Studios, 2025

“Suspension Point” captures a split moment of motion and transformation; a manta ray, mid-leap, cutting through the ocean's horizon. Through composition of gently layered acrylic paint, ink, and graphite on canvas, the manta fills the space as it leaps between places. The stark contrasts and negative space speaks through liminal strokes of paint the evoke the arc of becoming.

In its composition and materiality, Suspension Point asks: What does it mean to be between places, mid-motion, momentarily airborne? And who, exactly, are we waiting to land as?

“D-Constitutional Form 1“

12 x 9 in., Acrylic and Ink on Canvas board

Marrowdrift Studios, 2025

This piece, part of an ongoing series of multilayered portraits, explores the construction of identity through the framework of abstract expressionism. Influenced by the turbulent abstraction of Willem de Kooning, "D - Constitutional Form #I" questions the foundational structures that shape self-perception.

The figure is fragmented, its form in a constant state of reformation, suggesting the fluidity of the self in a modern world defined by both internal and external forces. The bold brushstrokes and impressionistic layers reflect a personal constitution, one that is continually shifting and evolving. This work is both a response to the past and a reflection of the present, acknowledging the process of breaking down and rebuilding personal and societal forms.

Through this piece, I engage with themes of resistance, identity construction, and the social forces that challenge the formation of the self in this new era.

The canvas is a space where the figure is simultaneously fragmented and fluid, emphasizing the conflict and synthesis between past and present, inner and outer. As de Kooning’s paintings often dissected the human form, so too do I attempt to reassemble mine, taking parts of my history and positioning them against a contemporary backdrop, and visually, layering several sketches and journal notes underneath the painting.

"D ,- Constitutional Form #2"

8 x 5 in., Acrylic on Canvas Paper

Marrowdrift Studios, 2025

"D ,- Constitutional Form #2" continues the exploration of fragmented identity and personal evolution through abstract expression. Smaller in scale than its predecessor, this piece is a concentrated, more intimate moment of the self in flux, fragmented yet persistent.

The bold contrasts of yellow, purple, and white strokes speak to the tension between clarity and chaos, allowing the texture and brushwork to take precedence in defining the space, while the smaller scale emphasizes the fragility and elusiveness of self-awareness in this new era.

While the larger works in the series explore the macro view of identity, this piece invites the viewer to engage with the micro—the intimate, quiet moments that form the foundation of a larger constitution. The gestural marks and layered forms suggest impermanence, resilience, and continued construction, as the figure both emerges and recedes in the chaotic beauty of existence.

This piece reflects the ongoing process of self-exploration, deconstruction, and reconstruction, showing that identity, like the artwork itself, is never static, always in process.n goes here

"Counterpose (Degenerate Study)"

12 x 9 in., Acrylic and Ink on Canvas Paper
Marrowdrift Studios, 2025

In this work, I reflect on the historical censorship of bodies and identities, specifically engaging with the 1937 Entartete Kunst ("Degenerate Art") exhibition under Nazi Germany. This painting is not a replication but a dialogue—one that draws a trembling line between that moment in history and the cultural purges, social regression, and aesthetic sterilization haunting contemporary America.

The model’s pose resists—sensual, grounded, and defiant. Their flesh is rendered with a deliberate impasto, evoking bruised histories and the erotic weight of embodiment. The use of aggressive texture collapses the figure into its environment, creating a kind of interstitial camouflage: body as battleground, body as archive.

The figure is both exposed and obscured. The gaze is refused. The vulnerability here is political, not performative.

This work continues my exploration into liminal embodiment, social tension, and the metaphysics of presence—examining how institutional power has historically vilified and erased bodies that are queer, racialized, non-normative, or resistant. It is a gesture toward reclaiming gesture itself.

 "Suspense Fragmented"

12 x 9 in., Acrylic and Ink on Canvas Paper

Marrowdrift Studios, 2025

In "Suspense Fragmented", part of the Nueve Degenerates collection, the figure is caught in a moment of suspension—its form splintered between presence and absence. The layered, tumultuous background, painted with bold, gestural strokes, creates a sense of unresolved motion, while the fragmented figure suggests a tension between being and becoming. The dark blues, black, and ethereal gold accents blend abstraction with human presence, creating a complex dialogue between chaos and clarity.

The figure, although incomplete, is charged with potential, echoing a moment of personal transformation. The gold highlights suggest fleeting moments of insight or memory, while the dark hues anchor the work in the space of conflict and erosion. The figure’s fractured posture serves as a metaphor for the forces of decay and renewal—an exploration of the self in flux, held in a suspended state.

In this piece there is an attempt, a physical yearning for, fragility and resilience in both form and identity. The careless arch of the figure inviting the viewer to engage with the quiet power of certain moments yet to be completed.

Digital, Print

Marrowdrift Studios, 2025

This piece vibrates with bodily surrender to place. The figure is simultaneously fetal and rooted, suggesting a return-to-earth ritual, a yielding for reconnection. The grass creeps in not as decoration, but reclamation: the body is not on top of the land—it is becoming it.

The wind lines create a sense of time moving around the form, like this being is caught in a moment of deep breath or last exhale. It doesn’t fight the environment—it gives itself to it. This is about regenerative rest, the kind of repose one only gets when being received fully by the land.

There’s also gender fluidity in the form—a refusal of classical figural rules. The emphasis here is not erotic but elemental. This is not a body—it is a terrain.

"Crumpled Fragility"

8 x 5 in., Acrylic on Canvas Board

Marrowdrift Studios, 2025

"Crumpled Fragility", I explore the beauty found in imperfection and the quiet, almost fragile nature of still life. The subject—seemingly simple, yet with layers of texture and form—becomes an exercise in attention and delicacy. Painted with acrylics on canvas, the soft swirls of color capture the subtle irregularities in the folds and contours of the object, allowing the viewer to engage with its beauty as it exists in this moment of stillness.

The black background provides a stark contrast, emphasizing the object’s fragility and isolation, yet within that isolation lies its quiet strength. The brushstrokes that define the subject create a tactile sense of texture, as if the painting itself is an extension of the object, not merely a representation of it.

Through this piece, I invite the viewer to see beauty in the unfinished and unresolved, in the impermanent nature of form, and in the complexity of simplicity. It is a meditation on the tension between vulnerability and resilience, and a reminder that even in stillness, there is much to be uncovered.

"Woe Recollected"

8 x 5 in., Oil on Canvas Board

Marrowdrift Studios, 2025

"Woe Recollected" is a meditation on memory, pain, and the subtle chaos that lingers long after emotional struggles. Painted during a time of significant mental health challenges, both personal and shared, this work reflects a quiet, almost haunting recollection of sorrow. The piece captures the fuzzy boundaries between clarity and turmoil, where the self exists in fragments, trying to hold onto something whole.

The brushstrokes in muted purples, greens, and whites evoke a sense of disorientation, not unlike the confusion that often accompanies emotional distress. The figure, if one can call it that, is barely discernible—a blur against an equally unsettled backdrop, mirroring the mental fog of the moment. Yet, there is no finality here, only the stasis of unresolved emotions—memories of struggle that persist long after the event.

This painting is less about the event itself and more about the lingering echo—the recollection of emotional turmoil, like a quiet hum in the back of the mind. It is a piece born from vulnerability and the need to face what is often left unsaid and unspoken. The woe that it reflects is not loud, but it is powerful, softening with time but never fully fading.

"Perspective: Fading Realities”

12 x 9 in., Acrylic on Canvas

Marrowdrift Studios, 2025

 "Fading Realities" explores the tension between presence and absence, perception and reality. In this piece, the figure gazes off-center, their expression both intimate and distant, as if caught between worlds. The robe—a symbol, sometimes at least, of identity and culture—fades into the foreground, deliberately blurring the boundaries between figure and space. This blending of perspective and reality speaks to the fluidity of self and the interplay between how we are seen and how we see ourselves.

The gaze itself seems almost reluctant to be anchored, a quiet challenge to the viewer’s expectations of form and perspective. The blending of the robe into the white of the foreground distorts the viewer's sense of space, creating an effect that draws the figure into an almost dreamlike reality where time and place become fluid, interchangeable.

This work is a meditation on the impermanence of identity and the layers of influence that shape how we are perceived. The figure’s presence, fading into the background, is a reflection on the constant negotiation between our internal realities and how we are constructed in the external world. "Perspective: Fading Realities" captures a fleeting moment, both rooted in and separated from the space it inhabits.

“Memory of Faeries at Night

Acrylic, Ink, and Varnish on Canvas Paper. 12 x 9 inches

Marrowdrift Studios, 2025

Memory of Faeries at Night captures the ephemeral residue of presence—part dream, part ritual, part psychical fossil. What begins as a study in monarchs becomes a meditation on migration, impermanence, and enchantment. The butterflies here are not merely insects but messengers, fractured wings tracing arcs through an interior dusk.

Rendered in layered acrylic and ink, and grounded in a contemporary impressionist palette, the work bathes in violet and gold—a spectral twilight that evokes the fading immediacy of memory. The plant-life, softly blooming in acidic glow, pulses like a relic of spring caught mid-decomposition or rebirth.

This piece exists within a liminal architecture, where flora is both decay and invitation, and the air is thick with myth. Inspired by dream logic, ancestral memory, and the visual poetics of suspended motion, the painting seeks not to represent but to echo—to hold space for what flutters at the edge of recall.

Created during a period of artistic migration—between cities, between intentions—it serves as both a personal offering and an invitation to collective nostalgia. The faeries here do not appear; they have just left. But their wings, and the shimmer of their exit, remain.

Digital, Print

Marrowdrift Studios, 2025

The pen marks that remain—fossils of gesture—feel like the residue of tactile affection. The digital layering serves not to erase the past, but to compress it, like pressing the last breath into the paper’s weave.

“Vessel Incoding”

12 × 18 in., Canvas Print

Marrowdrift Studios, 2025

Here, the figure is not painted; but assembled—through loops, coils, and flickering bursts of motion. The cool blues suggest calm, but veined with reds and maroons that whisper at a beneath of heat, blood. Each brush stroke trails upon a tangle of nervous anatomic systems, woven declarations, and glitchy spiritual inscriptions. There’s a tension between the gaze, which is firm, assured, and inward-looking, and the rest of the body, which dissolves into entangled flux. An attempt at balance—between the knowing mind and unstable flesh.

The pink negative space softens what could otherwise be a chaotic image.

“Reliq -” Digital, Print

Marrowdrit Studios, 2025

A memory-machine. The thick, swirling impasto strokes create and obscure detail. This isn’t about what the object is—it’s about what it has meant.

The circular strokes evoke the act of rubbing something smooth from over-handling—like a technical grief stone perpetually kept close, in the pocket.

Digital, Print

Marrowdrift Studios, 2025

Originally conceived as part of a tattoo series this piece is inscription. The inverse triangles, delicate linework, and lunar presence are not abstract— are invocational. A diagram of Appalachian presence, but rendered through metaphysical geometry. This piece is a map and a myth.

Red-Eye Return, Corvid Memory #1

16 × 20 in , Canvas Print

Marrowdrift Studios, 2025

Rendered with vibrating linework and duotone chromatics, this piece appears animated—even while completely still. The layering of black, blue, and red line evokes visual static, like a screen trying to hold onto a fading image. This corvid is spectral, shifting, unstable in form—and yet intent in gaze. There is something preternaturally aware in this bird: it is neither entirely natural nor symbolic, but some space between.

Corvids in folklore—especially within West Indian tales—often act as liminal guides, trickster-watchers, or spirit messengers. Mythology inked into linework. The double-outlining creates a ghosting effect—as if the bird is flickering between dimensions or time-states. The claws in particular are active, jagged, and unresolved, still negotiating its place in this world.

This bird is a return, a visitor, and a record of having once been seen.

“Transcriptions Presented"

16 × 20 in., Canvas Print

Marrowdrift Studios, 2025

“Transcriptions Presented" is an exploration of language, memory, and the ways in which shared experiences take on physical form. This piece re-imagines the moose—the Artist’s Partner’s favorite animal—not as a mere representation, but as an accumulation of time, dialogue, and intimacy. Composed of handwritten notes, thoughts, and conversations exchanged over the course of the relationship, the figure itself is a vessel for the ephemeral: a portrait not of a singular moment, but of years of connection woven into a single visual entity.

By blurring the boundaries between text and image, engage in a process of translation—where language, often fleeting and impermanent, becomes the texture, weight, and structure of the moose itself. The layering of script suggests movement and instability, reinforcing my artistic interest in suspended motion and interstitial spaces, where identity, memory, and perception remain in constant flux. The varying densities of handwriting, the gestures of erasure and overlap, all reflect the natural rhythms of communication: moments of clarity, interruptions, silences, and the passages of time that define relationships.

In this work, the act of writing is not merely documentary but sculptural. The text does not simply describe history—it becomes them. The moose, then, is both presence and archive, a liminal form that holds within it the weight of years, transmuted into ink and line. In this way, "Transcriptions of Presence" serves as both a deeply personal artifact and an exploration of how intimacy can be rendered visible, how language can be made flesh, and how the act of remembering shapes not only what we recall, but how we see.

“Heron Memory No. 1”

8 × 12 in., Canvas Print

Marrowdrift Studios, 2025

Heron Memory No. 1 is the first in a series of Marrowdrift Studios avian studies that meditate on presence, memory, and transformation. Capturing a heron at the edge of gesture—neither arriving nor departing—the piece exists in a suspended psychological space. Printed on poly-cotton blend canvas, it invites light to inhabit the work, echoing themes of perception, fragility, and the unseen.

The geometric backdrop evokes rhythm, recurrence, and liquidity, while the handwritten annotation at lower left functions as both personal cipher and metaphysical anchor. This is a document of interruption. A heron suspended between water and sky, silence and gesture.

Only five of these will be printed.

“Recall of Composition“

Acrylic on canvas. 15.5” x 12” (unframed)

Marrowdrift Studios, 2025

“ReCall of Composition” is a meditation on how abstraction permeates our lived experience. Inspired by Kandinsky’s Composition VIII, this piece treats abstraction not as an external design but as the very ground we stand on—the layered fabric of memory, perception, and cultural history.

The figure, emerging from this background, is rendered with realism but subtly disrupted—color bleeds, shapes fracture—reflecting the tension between stability and transformation.

The text embedded in the piece—“From now on, we will wage a relentless war of purification…”—echoes historical moments of ideological control, but here it cycles back into the abstraction, refusing to remain as a singular threat.

The work explores how we live within systems—sometimes oppressive, sometimes generative—that shape our sense of self and world. ReCall of Composition is a reminder that even amidst chaos and ideology, the figure—our humanity—emerges, resists, and transforms.

This piece invites the viewer to contemplate the tension between background and figure, between abstraction and identity—a dance between the world that forms us and the self that forms the world.