This series began with a collection of small mixed-media collages — experiments in bringing together opposing impulses: structure and freedom, geometry and gesture, precision and play. I was curious about how different visual languages might coexist on a single surface, and how tension could become its own kind of balance.

At some point, I found myself asking, “How can I scale this up?”
That question became the catalyst for this new body of work — larger paintings on birch panel that carry forward the spirit of those early collages, but with new energy and confidence. Without collage, the conversation between my two artistic personalities had to happen entirely in paint. Transparent and opaque layers reveal and conceal one another; hard edges meet loose, intuitive brushstrokes; bold cadmium reds and teals pulse against quiet moments of restraint.

The four paintings — Getting the Band Back Together, All My Selves in Sync, Everything, Everywhere (Almost), and My Other Half Has Paint on Her Hands — explore what happens when multiple selves try to find rhythm together. The result is a kind of harmony that isn’t seamless, but alive — a fractured harmony that feels true to the creative process itself.