Watercolor and Mixed Media Artist
In Come This Way, I explore the invitation to share a place and an experience with someone. Two figures stand close together at the edge of a grassy waterside landscape, their bodies turned in different directions. The title gives their quiet movement a voice, suggesting a moment of discovery and the desire to bring another person along.
Broad watercolor washes open the scene into bands of green, blue, and earth tones, while finer marks describe the grasses nearest the figures. Their warm skin connects them visually to the rocks and shoreline, placing their nakedness within the everyday life of the landscape.
I am drawn to the small adventures through which intimacy grows: wandering together, finding a secluded spot, deciding where to go next. With their faces turned away, the figures leave the story open. What matters is the possibility of following—and the trust contained in that simple invitation.
In Andy in His Robe, I explore the intimacy of an ordinary, unhurried moment. Seated at the edge of a bed, Andy leans forward with his hand against his mouth, his gaze meeting the viewer. His posture suggests reflection, but leaves the subject of his thoughts private.
The burgundy robe, blue bedding, and deep green background give the scene its quiet atmosphere. Loose watercolor washes soften the room, while drawn contours bring attention to his face, hands, and bare feet. The robe’s open folds offer a sense of physical ease alongside the more inward quality of his expression.
I am interested in how a portrait can bring us close to someone while preserving their mystery. This painting holds that balance: the familiarity of a domestic setting, the tenderness of looking carefully, and the inner life that remains Andy’s own.
In Nathan in the Field, I paint my friend Nathan amid tall grasses, his face lifted toward the light. His love of being nude outdoors informs this study: the pleasure of feeling air and sunlight on skin, and the freedom to inhabit a landscape with ease.
Here, the field occupies most of the painting. Grasses partially conceal Nathan’s body, while luminous yellows and greens surround his figure beneath a dark tree line. Loose watercolor washes and directional marks suggest movement around his stillness. I wanted his presence to feel woven into the place.
This is a portrait shaped by friendship and by my affection for Nathan’s free spirit. It celebrates a moment of absorption in the world—the simple satisfaction of being outside, comfortable in one’s body, with room to breathe.
In Boys on a Rock, I explore the quiet intimacy of sharing a place with another person. Two figures sit together above the sea, their bodies touching while their attention moves in different directions. I am interested in that ease—the closeness that allows each person room for his own thoughts.
Warm skin, cool water, and loose strokes of grass connect the figures to the coastal landscape. Watercolor’s transparency helps me convey the fleeting quality of summer light and the vulnerability of being seen. Their nakedness expresses a sense of comfort and belonging within the natural world.
This painting is part of my exploration of queer tenderness in everyday moments. I want to give space to affection that unfolds through posture, proximity, and shared silence: the simple pleasure of being beside someone, with nowhere else to be.
Our Room captures a quiet moment in the life I share with my husband. Familiar objects, a sleeping cat, and the ease of being unclothed together make this room a place where we can be vulnerable and wholly ourselves. We each go about our own small tasks, held together by the intimacy of a shared life.
For me, pride extends into these ordinary moments: loving openly, making a home, and building memories together. This painting honors the trust that allows us to feel at ease in our bodies and with one another. Even as others seek to diminish lives like ours, there is power in inhabiting them fully. Our tenderness, our routines, and our joy are expressions of love—and a quiet, persistent form of resistance.
In Where We Can Be, two lovers rest on a fallen tree, surrounded by deep woodland shadows. Their hands meet quietly between them—a small gesture that anchors the painting. I am drawn to these understated expressions of affection, when a touch can reveal the connection between two people.
The warmth of their bodies stands against the cool blues and greens of the forest. Loose watercolor washes suggest a landscape that shelters them, while their relaxed postures express trust and ease. Their nakedness carries that same openness: the freedom to be present with each other without self-consciousness.
Through this piece, I explore the relationship between queer intimacy and the natural world. The forest offers room for tenderness, stillness, and the pleasure of being together.
Contact
Custom pieces start at $500. Please fill out this form to inquire.