About
The art of unlearning.
I make double-sided burlap wall sculptures — built up layer by layer on the studio floor, pigment soaking through the weave — and authentic, gold-seamed Kintsugi reliefs. Substantial, deeply textured, and impossible to truly replicate, each piece doesn’t just hang on a wall; it transforms the space around it.
I’m an architect by training and an artist by compulsion. I live in Miami, where I keep my own studio — a space built for exactly the kind of work you see here.
For years, architecture taught me to know the answers: precision, proportion, the one correct solution. Painting taught me to let all of that go.
My voice found itself on the floor. I paint on raw burlap laid flat, and the pigment seeps through the weave — front and back — until the surface takes on a life of its own. Over time that became my language: textured, layered, never fully in my control, and unmistakably mine.
Architecture gave me structure. Painting gave me freedom. My work lives somewhere between the two.
A collector moment
One of my early works, Scarlette Red, was chosen overnight for a Coconut Grove mansion — installed by 10 a.m. for a French television crew. In that moment a painting became the center of a room, and I understood what this work could do.