Statement

My work tells the story of my background in musical performance, jazz, and songwriting—disciplines that continue to shape how I approach rhythm, harmony, and composition in my art practice. Inspired by Bauhaus artists like Kandinsky, Klee, and Albers, I explore the deep connections between sound and colour, drawing on resonance, tonality, and structure as shared foundations. Through a non-objective design aesthetic, I focus on the essential interplay of colour, form, and musicality to create works that translate sound into a visual experience.

These ideas are explored through shape assemblage, using a developing library of mostly circular forms that I layer onto canvas, board, or acrylic panels. Rhythmic brushstrokes and geometric structures are balanced with intuitive mark-making to suggest movement, structure, and sound. The process is both playful and precise, as I build compositions that echo the dynamics of musical expression.

My art practice draws on the interplay of musical keys, notes, intervals, modes, pitch, and rhythm, influenced by crossmodal research and Bauhaus theory. I’m particularly interested in experimenting with cross-model dualities––lightness/quietness, gradients/harmony, brightness/loudness. These relationships form the conceptual foundation for a body of work that invites viewers to see sound and feel the visceral effects of colour. 

Materials play a central role in my process. I work across oil on canvas, collage, pigmented resin, and layered relief elements. The resin’s luminous quality enhances light and depth, giving the surface a shifting vitality—much like the dynamic of music. These layered constructions invite a tactile and immersive experience, inviting viewers into an immersive experience where sight and sound converge.