This work speaks of the strife of the region. The paintings show the immense power of sand storms, but also remind us of hope. They capture the chaos and beauty of a place consumed by dust. The brush strokes invite us to see the common ground we share and look ahead to a brighter future.

My approach to abstract painting is one that relies heavily on the use of my imagination in the creation of new bodies of work, the exploration of different marks, and for the acceptance of ambiguity so a viewer is allowed the ability to use their own mindful wanderings as they consider and interpret what I have made.

Initially, I sourced imagery from references to the virus, but that changed as I pondered the connection between how a virus spreads and how artwork affects those who see it, their surroundings, and the environment.

I considered how viewing my paintings could impact someone, positively or negatively, in the same way that coming into contact with a virus could. I aimed to control the interaction with the work in a given space, yet leave it open to interpretation.

I examined how the reference to the virus could align as a pattern on the painting's surface, questioning if it was a tool to affect the viewer. This color field, created by the allover pattern, allows me to express much.

Zooming in and examining something closely provides a different understanding and awareness. Just like a cell wall separates us from infection and also from new ideas, thoughts, and experiences.

My paintings express the duality of tragedy and splendor, fear and fascination, destruction and rebirth. They embody terrifying beauty, otherworldly strangeness, and mystery, like a microbe magnified for the human eye. My portrayal of these ambiguous and metaphoric images expresses my inner vision, life's essence amplified.

Doha, Qatar transforms. Inhabitants see the past fade and sense detachment from the future, though it advances at a great pace. Much of the city's character, life, and history go unnoticed, at risk of being forgotten. By exploring hidden places at night, unique scenes and their cultures can be recorded. These works preserve memories of places that would otherwise be lost to time and hold onto forgotten icons and the ghosts of yesterday for future generations.

The old and traditional parts of Doha carry beauty and nostalgia. But there's also a sad truth. That authenticity, that unique feeling, is disappearing, gone—replaced by the future's growth and memories threatened by oblivion. Stopping time or progress is impossible, but imagination and careful preservation of secret spaces and hidden haunts, threatened by humanity's desire for constant progress and subsequent destruction, can be achieved.

With a mix of abstract and real, I explore the power of what's left out. Inspired by Michelangelo's "Unfinished Slaves," I veil the subject and embrace mystery to show the influence of censorship. This prompts the viewer to question their own perception and engage with cultural history.

Art is a bridge between the artist's thoughts and the viewer's understanding. My works in various media question the materiality of visual art and the role of both creator and observer in interpreting it.

It is not always easy to describe how a painting, much less an entire body of work, is given life.  At times, the paintings only show a fragment of what was first conceived, and on other occasions they end up blurring the idea even after engaging in an intense effort to put it in focus.  While my main goal was to capture the mood and texture of Savannah, GA, sometimes the paintings moved further away from the initial form—even as I tried to get closer to what is in my head. This directly affects the viewer’s level of interaction, both on a psychological and formal level.  I make art so that I may bring new creations into existence every day. It is my hope that I will positively shape and morph things to come.