Location: United States
I am a multidisciplinary artist whose practice is rooted in hybridization, curiosity, and an enduring engagement with diversity across cultures, materials, and ideas. I was born in Pittsburgh, Pennsylvania, and studied at Penn State, where my education spanned fine art, architecture, graphic design, psychology, and philosophy—an interdisciplinary foundation that continues to shape how I think, make, and see.
My work is informed by extensive travel and a deep respect for lived cultural experience rather than surface aesthetics. Together with my husband, Jeff, I designed and built Tanglewild Gardens in Austin, Texas—a two-acre botanical garden that serves as both home and creative laboratory. Working with living systems has profoundly influenced my visual practice, reinforcing an interest in emergence, variation, and the cultivation of form over time.
Across my career, I have worked in fine art, design, publishing, fashion, and technology, including leading global creative teams. These experiences inform a process that values synthesis over purity and dialogue over dominance. My artwork integrates traditional and digital methods, using AI as one tool within an artist-directed workflow grounded in concept development, hybridization, and editorial discernment.
My work often explores themes of cultural multiplicity, identity, injustice, and surrealism. As a gay man who has experienced discrimination and loss, my practice is shaped by empathy and a commitment to honoring difference without flattening it. I am less interested in conformity than in coherence—how disparate elements can coexist, challenge one another, and form something resonant and alive.
My work has been exhibited internationally and is held in private collections worldwide. I am grateful to share it with a global audience and to remain in conversation with artists, thinkers, and collectors who value complexity, curiosity, and care.
This series examines identity as something carried rather than performed. Through a sequence of portraits, time functions not as erosion, but as a formative force—shaping dignity, authority, vulnerability, and reverence.
Moving from authority to lineage, suspension to confrontation, and finally integration, the works trace a restrained emotional arc. Youth and age, sanctification and cost, stillness and resolve coexist without hierarchy. What emerges is not spectacle, but presence—figures shaped by time, held by it, and ultimately illuminated through it.
This portrait establishes sovereignty through stillness rather than spectacle. Gold functions as a language of regard, framing the figure within a space of quiet veneration. Reverence here is not granted through power, but through composure and restraint.
Time is presented not as erosion, but as coronation. The subject’s bearing reflects a life shaped by duration, where experience confers dignity rather than fatigue. Authority emerges as something earned and settled.
Suspended between presence and apparition, this figure inhabits a moment of ceremonial pause. Neither anchored to the past nor fully projected into the future, the work holds anticipation without resolution. Ornament and restraint exist in quiet tension.
“Matthis | Under the Sign of the Spider”
This work names the cost carried by identity and belief. Sacred iconography and bodily inscription collapse vulnerability and agency into a direct, unwavering gaze. Pain is neither dramatized nor denied—it is claimed.
The series closes in integration rather than triumph. Light functions as illumination born of endurance, not absolution. Time, authority, and cost settle into quiet clarity, leaving presence in their wake.
“Aurex | Held in Reverence”
“Caius | Crowned by Time”
“Eidolon | Held Breath”
“Aurelian | Held Light”
