Material &
Process

Every work begins with an encounter with material.

Earth gathered from the landscape. Mineral pigments formed through geological processes. Linen, wood, carbon, and the textures they carry. Each arrives with characteristics that existed long before I began working with it.

I don't approach these materials with the belief that they need to become something else to possess beauty. My work begins with recognizing what is already there.

In paintings such as Terra and Tectonic Restraint, earth and mineral pigments are accumulated, displaced, and reduced. Geometry emerges from disorder. A fracture interrupts an otherwise quiet surface. Sometimes the most important decision is not what to add, but what to leave undisturbed.

This is the foundation of Latent Form Theory: creation is the revelation of form through essential subtraction.

The process is deliberate, but not entirely predictable. Pigments settle according to their own physical properties. Moisture moves through a surface. Gravity, absorption, and time participate in the composition. My role is to recognize when these interactions reveal something worth preserving—and when further intervention would diminish it.

The same principles extend to the furniture and objects I make. Whether working with quarter-sawn white oak, Peruvian walnut, or mineral pigment, I am interested in proportion, material honesty, and the discipline of removing what does not belong.

Every piece is made by my own hand, from its earliest preparation through its final resolution.

The objective is not simply to make something beautiful.

It is to recognize the moment when nothing more is needed.