I've been an artist for as long as I can remember. Over the years, as my skills in painting and sculpture have deepened, so too has my understanding of what drives me to create. For the creative mind, art imitates life and life imitates art, a constant dialogue between inner experience and outer expression.
My work is deeply introspective, rooted in the study of my own emotions and experiences. For the past several years, meditation has been central to my practice, alongside my exploration of Carl Jung's psychology, astrology, tarot, Human Design, and the Gene Keys. I'm drawn to the teachings of mystics and channelers. I've attended seminars with Esther Hicks and Dr. Joe Dispenza's advanced retreats, seeking to understand consciousness and transformation.
Life hasn't always been easy, and perhaps I'm still searching for that elusive "easy button." But it's the depth of my experiences, the struggles, the breakthroughs, the questions, that fuel my work and help me process the evolving themes of my journey. If I had to describe my art in three words, they would be: connection, awareness, and spirituality.
When I'm not creating, you'll find me riding my motorcycle, roller skating, paddleboarding, working out, traveling, or seeking out experiences that surprise and expand me.
Retail
My fascination with mannequins, vintage clothing, and handcrafted wooden jewelry converged beautifully at The White Elephant, a local boutique where I briefly showed my work. Though the shop has since closed, I deeply enjoyed the collaboration with the owner, the way her curated clothing and my art pieces complemented one another within the space felt organic and intentional. I was a loyal customer before becoming an artist-in-residence, and I created these mannequin portraits specifically for her boutique. The experience reinforced my belief that art can truly transform a retail environment, enhancing the visual experience and atmosphere for customers in meaningful ways.
Art curation
Curating artwork for commercial spaces is a relatively new venture for me, but one I've embraced wholeheartedly. I had the opportunity to curate over 50 pieces monthly for The Tasting Room in Salt Lake City, while also organizing and managing Gallery Stroll demonstrations and facilitating online sales. The experience deepened my understanding of how art functions in public and commercial contexts. Although I'm no longer curating for this location, I remain open to curatorial opportunities in the future, particularly for spaces that align with my interests and vision.
molds & casts
I'm no stranger to foundry work; it's the foundation of my sculptural practice. I started my career learning the craft of mold-making and casting across multiple materials, and those skills remain central to what I do. For this project, I created the mold and cast this piece in fiberglass for a client. The years I spent in the foundry have given me a technical fluency that becomes indispensable on projects of this scale and complexity.
Art festivals & shows
I continue to exhibit my work at art festivals and shows across the United States. These events offer invaluable opportunities to connect with fellow artists, refine how I communicate both my creative process and the work itself, and engage directly with collectors. I believe it's essential to travel and expose my art to diverse audiences and regions—art is, after all, a universal language that transcends borders and backgrounds. Plus, it's a wonderful excuse to explore new places and step outside my routine.
commissions
I love taking on commissions that push me beyond my comfort zone, and this project did exactly that. It was my first time sculpting faces at this scale and working with fiberglass—a medium entirely new to me. The challenge of creating these custom portrait masks designed to hang as wall sculptures was both demanding and exhilarating, and the process taught me as much as the finished pieces.
Marble carving
This past summer, I traveled to Italy to carve marble alongside a group of local artists—an experience that left me completely captivated by the medium. I'm now planning annual trips to continue working in marble, not only to refine my technical skills but also to immerse myself more deeply in the rich history and time-honored craftsmanship of this ancient art form.
Teaching
I occasionally offer private art lessons to dedicated and curious students. Teaching has become an invaluable part of my own artistic development—it refines my ability to articulate process, clarify concepts, and communicate techniques in ways that deepen my understanding of my own practice. While I haven't yet led workshops, I'm open to opportunities that allow me to share my knowledge with larger groups.
installation artwork
I've had the pleasure of creating two large-scale window installations for The Gateway Mall's Art Shop Project. The first installation combined paintings, vintage mannequins, and sculptural birds in a whimsical indoor landscape. For the second, I created a spring floral installation where each bloom was handcrafted from tissue paper. Installation art appeals to me for its sculptural possibilities and the freedom it offers to work outside traditional mediums, encouraging experimentation and conceptual thinking that pushes beyond classical approaches.
public sculpture
This was one of my first public sculptures, commissioned for the Farmington Community Center in Utah. The experience of creating work for a shared public space was transformative, and I'm eager to take on more large-scale projects of my own. I've spent years assisting established artists on their public installations throughout Utah, learning invaluable lessons from some of the state's most respected sculptors mentorship that continues to shape my approach to monumental work.
mannequins
I've collected vintage mannequins for years, at one point owning around fifteen, and I've developed a series of paintings that explore the uncanny relationship between display mannequins and human experience. This was some of my early work. As I've moved on to more classical, refined techniques, I still have an itch to continue the collection. The craft and history of retail mannequins fascinate me; they were, in fact, one of the earliest inspirations for my work in figurative sculpture.
Abstract painting
I spent several months on Maui, and it was there that a local friend introduced me to abstract painting. The experience felt like unlocking a new language, and I've been hooked ever since. I'm continuing to develop this side of my practice, using acrylics to explore texture, color, and the freedom that abstraction offers.
Pet portraits
Pet portraits and commissions aren't typically part of my practice, but when a dear friend in Maui asked me to paint their cat, I couldn't resist. The piece became a playful exploration of abstraction meeting portraiture, allowing me to experiment with texture and expressive brushwork in ways that felt fresh and spontaneous.
Painting for a cause
I returned from Maui just before the devastating fires that would forever change the island. Moved by the destruction and the loss experienced by so many, I painted this series of six works, donating all proceeds to a dear artist friend whose life and livelihood were upended by the disaster.
wooden Jewelry
Over the years, I've designed handcrafted wooden jewelry that was carried in numerous local consignment stores and boutiques, including The White Elephant, Icono Clad, Art Access gallery gift shop, and even a local restaurant. I also sold at street markets such as the 9th and 9th Market, Park City Christmas Market, Liberty Park Market, and Maui's Swap Meet, as well as pop-up shops at City Creek and 15th Street Gallery. While my jewelry found a home in many spaces throughout Utah and beyond, I'm no longer represented in boutiques as my focus has shifted to larger-scale sculptural and painting work.