Title: Bargue Drawing Plate Copies
Medium: Graphite and kneaded eraser on paper
Dimensions: 11 × 7.5 in.
Artist’s Note:
These drawings are copies of Charles Bargue’s nineteenth-century plates, made to train artists in careful observation and technique. I worked slowly in graphite and focused on proportion, contour, and value rather than invention. At first the process felt rigid, but repetition taught me patience and precision. Copying the plates showed me how light builds form and how small choices change expression. This study strengthened my eye and gave me a clearer structure for my own work.
Title : Still Life in the Classical Vanitas Tradition
Medium: Charcoal and kneaded eraser on paper
Dimensions: 14 × 17 in.
Artist’s Note:
This drawing engages the Vanitas tradition using a bust, a skull and a vessel to explore composition and shading. Compressed charcoal lets me shift from sharp edges to dissolving shadows, adding nuance to large forms and setting a tension between presence and absence. The piece studies how value can structure a scene. A strong focal pull at the mask and a clear value hierarchy play against open negative space and diagonal counterweights. On a revisit I would deepen reflected light under the jaw and soften the shoulder transition.
Title: Tears of Oil
Medium: Resin, silver leaf, gold leaf and oil enamel paint, Swarovski crystal, metal chain
Dimensions:
Teardrop pendant 2 × 1.2 × 0.5 in.
Oil barrel ring 1.2 × 0.75 × 0.75 in.
Oil barrel pendant 1.4 × 2 × 1.4 in.
Artist’s Note:
This collection reimagines an oil barrel as jewelry to ask how spills meet the ocean and the body that wears it. I sculpted clay prototypes, pulled silicone molds and cast forms in resin to keep them light and wearable. I also modeled select components in wax and cast them in solid brass, then polished the metal for wear. Silver and gold leaf create an inviting sheen while small dark accents settle in seams like residue. At its core the work is a study in shape. The barrel keeps strict geometry, a cylinder with a clear seam and a tight aperture. The teardrop opens inward, its taper framing a faceted Swarovski crystal that catches light within the void. Worn together closed geometry meets open negative space and a field of circles resolves into one droplet.
Title: Net of Consumption
Medium: Resin, Swarovski crystals, metallic mesh, paint, brass, gold leaf
Dimensions:
Black handle 5.5 × 5.5 × 1 in.
Gold handle 4 × 4.5 × 0.5 in.
Artist’s Note:
These handbags pair elegance with a quiet question about consumption. I sculpted sturgeon handles for two versions. One handle was cast in solid brass from a wax model, then filed, sanded and polished. The other is resin finished with black Swarovski crystal texture. The handles are sculpted as sturgeon, a nod to the fish behind caviar, and the black beads stand in for the eggs. The body is a woven metallic net that recalls commercial fishing gear. I want viewers to feel the beauty first and then notice the reference to harvest and capture. The pieces evoke conversation, aiming to hold tension rather than resolve it.
Title : Genetic Currents
Medium: Resin, brass, gold leaf and oil enamel paint
Dimensions:
Pendant 5 × 3.4 × 0.25 in.
Bralette panel 3.4 × 10 × 0.25 in.
Arm band 0.75 × 3 × 0.2 in.
Choker 1.2 × 4.5 × 0.3 in.
Necklace 6.3 × 7 × 0.4 in.
Artist’s Note:
The double helix is meant to prompt thinking about the systems that keep, not just the oceans creature alive, but also us. A link between the humans and the sea, as at our cores, we are the same. First, I sculpted small clay prototypes, made molds and cast sets in resin. I also modeled select links in wax and cast them in solid brass, then filed and polished the metal. Gold leaf on the resin lifts the high points while black in the recessed seams reads as residue that settles. When worn, the links loop—encircling the neck, wrist, and torso. I want to, initially, show the shine and symmetry—the beauty—of the DNA that makes up all of us. Then, I would like to prompt thought about what it means when building blocks of life carry the trace of what we add to the water.
Title: Tide Keepers
Medium: Brass, resin, silver leaf, gold leaf, oil enamel paint
Dimensions :
Seahorse earrings 3 × 1.8 × 0.3 in.
Seahorse pendant 4 × 1.8 × 0.3 in.
Sand dollar earrings 2 × 2 × 0.2 in.
Shell earrings & pendant 2.5 × 2 × 0.2 in.
Sand dollar ring 3 × 3 × 0.2 in.
Artist’s Note:
A set created to honor small coastal life, and the ocean I sought to protect in the first place. I modeled a seahorse in wax and cast one pair in solid brass, then chased and polished the metal. I produced related pieces in resin finished in cool silver or warm gold with small dark accents in creases to suggest stress in the water without turning the read severe. Forms stay open so light passes through and throws soft shadows on the face and hand. Negative space does as much work as the material. The seahorse holds an upright S-curve that guides the eye back to the wearer, while the star, shell and sand dollar simplify tide pool finds into clear silhouettes. I want the first read to be calm shine and the second to be the quiet work of protection that lets these tide keepers thrive.
Title : Tidal Studies
Medium: Resin, brass, gold leaf, silver leaf, oil enamel paint
Dimensions:
Necklace 12 × 7 × 0.3 in.
Pendant 5 x 7 x 0.3 in.
Artist’s Note:
The necklace studies motion along the waterline. I shaped a set of wavy panels from a simple profile, then finished alternating pieces in bright silver and darkened others with black to suggest residue. One was made is wax and then cast in brass, whilst the other was cast in resin. The composition relies on repetition and spacing. Gaps act as rests, letting skin and light flow through like tide between rocks. When worn, the panels lift and settle with the chest so edge highlights shift as the person turns. I want the work to feel like a walk by the shore where currents keep changing what you see. The bright plates speak to shimmer and life, while the darker ones hold weight and history.
Title: Tea Party
Medium: Plaster, crystals, wire, acrylic paint, gold leaf
Dimensions:
Teacup sculpture 7 × 5.5 × 9 in.
Donut sculpture 5.5 × 5 × 5 in.
Artist’s Note:
With two pieces meant to be read as one, small sculptures look playful at first. I cast a teacup and saucer and set crystals one by one into a plaster spill so the surface feels glamorous yet heavy, like a pause before cleanup. I modeled a donut and a reaching hand and placed them inside a tight wire fence. The spill’s arc is thick at the lip and thins as it lands, while the fence’s grid contains the round pastry and channels sight lines. Together the pieces stage a contrast, an open glittering flow beside a sweet object kept in bounds. I was thinking about labor behind food, constant marketing and how easily habits settle in. The intent is empathy rather than blame and a nudge toward gentler choices that value workers, resources and the communities that feed us.
Title : Ebb and Spill Corset
Medium: Translucent fabric and resin; paired with a black matte satin gown made by the artist (machine and hand sewn)
Dimensions:
Corset 6.5 × 14 × 0.5 in.
Gown size: 51 x 32 x 240 in.
Artist’s Note:
The corset was designed to feel like water moving over the body. Iridescent film and fabric hold greens and blues that shift in the light while resin adds structure without losing clarity. I worked in layers, sealing the cloth, shaping the curve, and sanding the edges until the surface sat clean on the body. The black gown beneath is intentional. A dark ground lets the color glow and reads like sea depth. Composition favors broad planes and clean seams so reflections travel across the chest like small waves. I want the first read to be beauty and lift, then a sense of risk at the word spill inside the shine.
Title: View from Home, NYC
Medium: Graphite and kneaded eraser on paper
Dimensions: 12 × 9 in.
Artist’s Note:
I drew the view from my apartment to practice two-point perspective and to look closely at a place I pass every day. I set a light grid, marked the horizon, and built the blocks toward two vanishing points so the avenue and curved roadway sit in space. I measured verticals by plumb, kept construction lines light, and used a kneaded eraser to lift haze, window reflections, and sky glow. Value steps organize the depth: darkest masses at the near left, mid tones through the middle towers, and soft edges in the far skyline.
Title: Memories of Childhood
Medium: Acrylic paint, canvas
Dimensions: 16 × 12 in.
Artist’s Note:
This still life uses abstract shapes and bright color to collect pieces of early memory. I started with objects that felt familiar and then simplified them into blocks, curves, and small textures. Some parts are clear, like a corner of a toy or the head of a dove. Others blur and overlap, the way memories do. The warm colors hold the feeling of play, while the cool background gives the scene space to breathe. The painting is less about accuracy and more about how remembering can reshape what we see.
Title: Lotus Relief Panel
Medium: Concrete plaster mix, silicone, paint, spackle, cardboard
Dimensions: 50.5 x 18.5 x 0.5 in.
Artist’s Note:
I aimed to combine classical European molding with the floral motifs from Indian temple patterns. I wanted a calm, continuous line that felt architectural and alive. My process moved step by step. I began with a cardboard sketch to plan the curve and the petals. I then built the form in clay and adjusted the negative spaces until the rhythm felt right. From the clay I made molds, cast the elements in resin, and sanded the surface to a soft finish. Finally, I cemented the panel onto the wall.
Title: Duomo di Firenze
Medium: Graphite on paper; papier-mâché, golf balls, scrap wood, acrylic paint
Sculpture 13.5 × 16 × 9.5 in.
Drawing 14.5 × 14 × 5 in.
Artist’s Note:
These two works come from different moments of the same place. For the drawing I worked from a photograph to study the Duomo’s rhythm and geometry. I set a light perspective scaffold, marked the horizon, and built the masses from nave to campanile so the arches and dome could grow in sequence. I measured angles by sight from the photo and kept construction lines light, using a kneaded eraser to lift haze and hold a soft value range for depth. Months later I made a papier-mâché model to process what the city meant to me. I blocked the volumes by hand, sealed and painted them so the brick red of the dome and the green panels read clearly. The forms are not exact. I kept the slight lean and handmade texture because they match how memory carries a place—accurate in feeling even when the lines are not perfect.
Additional Sketches