BIO

My earliest creative memory was drawing intricate cartoons in elementary school notebooks. Classmates would ask me to fill theirs as well. Years later, I began spray painting over citrus, onions, and other produce, then using those same ingredients to stamp paint into the forms. I did not realize at the time that this would foreshadow the work I would eventually develop.

Cooking ultimately became the primary focus. I never attended culinary school, instead working through a range of kitchens in search of higher standards and more rigorous execution. That search led me to The NoMad, where I was part of the opening team. The restaurant went on to receive three stars from The New York Times and a Michelin star.

That experience provided the foundation to build my own concepts. After several years operating a seasonal food business out of an apartment kitchen in Brooklyn, I opened my first restaurant in 2020. During construction, faced with budget constraints and an empty dining room, I began creating the work that now defines my practice.

STATEMENT

My work is driven by the same instincts that guide my cooking. I pursue texture, balance, and contrast, using materials derived from food and wildlife to build surfaces that are both controlled and unpredictable.

Each piece reflects place and time rather than emotion. Materials shift with season and availability. Pigments dry at different rates depending on temperature, wind, and humidity. Without a controlled studio environment, the work is exposed to the elements, allowing conditions to shape the final result.

Authorship is shared. What I intend and what ultimately emerges are rarely identical. This lack of full control is central to the work.

Bones, vegetable trim, blood, wine, tea, spices, charcoal, and other materials are applied and later removed, leaving behind their impressions. Tools are often drawn directly from the kitchen, including cheesecloth, ice, tape, sheet trays, and bowls, used to build depth and variation.

Each piece is one of one. It cannot be replicated.

MY WORK

The work aligns most closely with abstraction. Scale is an important factor, and I rarely produce pieces smaller than 24 x 24 inches.

All works are fully dried, cleared of excess material, and sealed. Over time, certain pigments remain stable while others may shift subtly. This variability is inherent to the materials and process.

ART FOR SALE

A selection of available works is presented here, with additional pieces available upon request.

Viewings are private and arranged individually. Each work carries its own material history and process, which I am available to discuss in detail.

Commissions are considered selectively.