I make images for a living, which sounds romantic until you remember most image-making is deadlines, revisions, and someone asking for more atmosphere with less budget. I trained as a painter at Pratt, spent more than two decades in high-end CGI and 3D work, ran my own visualization studio in Brooklyn, and now direct a team of 3D artists and creative technologists inside a global ad agency machine. So yes, I understand both the poetry of looking and the administrative misery of making things look expensive.
My painting practice is where I let things stay physical, slower, and a bit less obedient. I’m interested in observation, revision, presence, form, all the old unfashionable things that still matter when the screen goes dark. I make work around interiors, plants, portraits, landscapes: ordinary subjects, because ordinary subjects are difficult enough if you actually look at them. I’m not chasing mystique. I like craft, structure, and the tension between control and discovery. That’s the whole job, really.
Connecticut-based, Brooklyn-forged, professionally fluent in polish, privately suspicious of anything too polished.