These paintings hold a lot at once — saturated color, raised texture against flat, smooth fields, ornament layered over ornament — without tipping into chaos. What keeps that abundance from scattering is structural:

every piece is built around a central axis, with forms on either side echoing one another without ever matching exactly, holding the density in balance rather than letting it spill loose. In the larger, multi-panel works, that same

relation extends across the sequence — each panel developing from the last, never repeating it. 

 

The ornament is built into the structure itself — lace, floral, and paisley motifs recur across the surface, sometimes as their own shapes, sometimes folded into the larger forms. They come from five years of textile design training, and in places they're more than a visual reference — I spray directly through lace onto

the canvas, so the material itself becomes part of the process, not just an influence on it.