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Earth and Charcoal Diptych organizes the field into vertical bands that behave like columns. Terracotta and charcoal alternate until the wall becomes architecture.

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Earth and Charcoal Diptych organizes the field into vertical bands that behave like columns. Terracotta and charcoal alternate until the wall becomes architecture.

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Terracotta Diptych is about one color lived at two temperatures. One panel lets the terracotta breathe in the light; the other closes it into the dark.

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Terracotta Diptych is about one color lived at two temperatures. One panel lets the terracotta breathe in the light; the other closes it into the dark.

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Terracotta Diptych is about one color lived at two temperatures. One panel lets the terracotta breathe in the light; the other closes it into the dark.

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Terracotta Diptych is about one color lived at two temperatures. One panel lets the terracotta breathe in the light; the other closes it into the dark.

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Limewash Triptych bets that the gap between panels carries as much as the painting. The dark bases settle the wall and everything above is left to the lime.

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Sandstone Dawn gives a room the scale of an old tree standing over a valley at first light.

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Vessel and Shadow shows the same plant twice, once in leaf and once as the shadow thrown on the wall behind it.

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Vigil sets a woman on an open plain beneath a tree whose roots need an entire cliff to hold them.

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Root Lattice hands the underground half of a tree the leading role, woven across the surface while the branches answer in finer strokes.

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First Seeds defends the power of a small beginning. It is about tending to what has not yet had time to reveal its promise.

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Cosmos Unison lets individuality and encounter occupy the same composition. Connection appears without requiring sameness.

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Amber and Indigo brings warmth into deep water. The work is carried by the tension between what glows and what recedes.

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Old Growth places one immense tree in front and three distant survivors behind it, all cut from the same pale ground.

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Stone Dawn lets the ground behave like water, folding into long rose and cream bands that carry the color of early morning.

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Olive Terrace is about keeping a piece of the coast close without going anywhere, an old fruiting tree potted on warm stone with water showing through a gap in the wall.

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Salt Shore places faith and horizon on the same path. The landscape suggests that staying can also be a way of moving forward.

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Upon the Waters belongs to the moment when going forward requires listening to your own rhythm. The water returns what haste tends to erase.

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Monstera Sun sets deep green leaves against flat fields of clay and cream.

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Tidal Ink turns the meeting of water and land into an abstract gesture. The composition keeps the force of a shoreline without depending on a literal view.

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Courtyard Noon sets a tall plant against warm plaster at the hour when shadows cut sharpest and the whole wall goes golden.

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One leaf repeats in four greens, from a closed forest tone to a green so pale it almost turns to sand.

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First Lotus Light is about the instant possibility begins to occupy real space. It holds the strength of first movements before they become certainty.

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