Abstraction, like science, often feels inaccessible to the public. My paintings aim to bridge that gap by turning fear of the unknown into curiosity. They use visual intrigue—odd forms, layered surfaces, eye-catching colors, and embedded data—to invite engagement without requiring technical knowledge. These works act as “Trojan horses,” drawing viewers in with beauty and mystery.

Each painting begins with a journey through research and data, uncovering origin stories and relationships embedded in specific places. Using the visual language of geological interpretation, the work weaves together layered histories of people, landscapes, ecologies, and materials. I draw from fields like seismology, paleomagnetism, hydrology, and petrology—mining data to illustrate the complex forces shaping a site and the stories it holds. Through this process, the work asks not just what is happening in a place but why it matters.

Photos courtesy of Emily Peacock and Peter Molick.

Site-specific investigations are the core of my practice. These paintings weave visual histories to tell a story too large for words, creating vivid abstractions and a spectrum of storytelling through history and landscape.

Mènerbes, Vaucluse, France

Houston, Texas, USA

Mexico City (CDMX), D.F., Mexico

Bahia Grande Unit
Laguna Atascosa National Wildlife Refuge, Texas, USA

Selected works that demonstrate a range of techniques and conceptuality, spanning from early work to the present day.

Shaped Paintings

A sample of previous works that explored pushing the envelope of the mechanics of paint, as well as how landscapes are made.

Early Works