I paint strangers.

The freedom of the unknown allows me to paint what I see, rather than working from false assumptions. Portraits are subjectve, infused with the painter’s biased interpretation of the subject from a brief encounter. But what happens if superficial association is replaced by embracing unfamiliarity? My portraits start with one, singular, unplanned interaction and develop through intentional studio time.

I question the definition of portraiture. There’s something fascinating about the characters that play specific roles in our routines yet are not understood outside of that context; they remain strangers and static beings in our minds yet deserve recognition beyond that setting.

The world is full of strangers, and I paint them.