About

I make paintings about what people carry. Figures with cube heads, blue bodies, gold-leafed faces, set inside architectures I have been building in my head for twenty years through meditation practice. The work has lived between the contemplative and the structural since I started exhibiting in 2022.

The current painting, The Wheel, unfolds the Tibetan Wheel of Life into inhabitable architecture. The traditional Bhavachakra presents existence as a circular diagram held by Yama, the lord of death and time. My painting opens that diagram into a room. The viewer does not look at the wheel. They stand inside it.

Ten figures move through this architecture at varying depths of submersion in a rising body of water. Each generates ripples that intersect with every other. The figures are bearers, not victims. They carry their own weight and the weight of those around them. The cube heads, three-dimensional and protruding from the painted surface, are not burdens. They are the thing that makes a person visible to themselves.

The architecture of the painting is a mind palace in the classical mnemonic tradition, externalized into pigment. A staircase ascends and descends simultaneously. Seven doorways open into realms drawn from Tibetan cosmology, each carrying a small painting within the painting, two to four inches across, in the same hand and palette as the surrounding space. One doorway is empty. That one is the human realm. The light that crosses the painting enters from beyond the left edge. The light source is outside the wheel because it does not belong to the cycle.

The Heavi Headz series, made between 2022 and 2025, developed the figural vocabulary that The Wheel inherits. The current painting is the first work in which that vocabulary has been placed inside an architecture large enough to hold what it has always been about.

The work asks whether what we carry is what defines us or what obscures us. It does not answer.