Watercolor, screen printing and intaglio on paper. 2024-2025. Variable sizes, 18x24 inches and 20x30 inches. This series combines watercolor and printmaking techniques to explore the emotional and allegorical potential of zoomorphic vessels. Their shapes evoke the magic of genie lamps—containers of dreams and aspirations—while referencing global stories. The organic washes suggest transformation and emotion, while printed details ground the vessels in a rich interplay of texture and symbolism. These works aim to transcend traditional still-life conventions, offering a contemporary meditation on our interspecies connections and the timeless relationship between humans, animals, and the environment.
Screenprinting on 20 x 30 inch paper. 2022-2024. In this series I am interested in challenging art historical narratives and modes of representation, for example, the painted Greek vase that documented various aspects of life. Traditional still-life paintings typically represent the time's motifs, desires, and political relationships across cultures. Each vessel represents an emotional facet of our 21st-century existence. The zoomorphic qualities of the sculptures are allegorical, expressing human and environmental concerns. Like a genie lamp that holds our dreams and aspirations, the transformed vessels may evoke a range of emotions like love, hope, fear, greed, or glee. I am inspired by world stories that feature animals as conduits of morality, like The Panchatantra story (an ancient Indian collection of animal fables) about a friendship between a monkey with a golden heart and an old hungry crocodile. 
3 vase kiss, 20 x 30, screenprint on black velvet paper, 2023
4 vase, 20 x 30, screenprint on black velvet paper, 2023
3 vase face, 20 x 30, screenprint on black velvet paper, 2023
2 vase alligator, 20 x 30, screenprint on black velvet paper, 2023
This series of drawings is titled Still life balance ABC, composed of individual drawings on 23 x 30-inch paper and arranged to create three totem-like images. The forms are sourced from collections like the Met Museum and distorted through the drawing process. Also used to make these drawings is the incorporation of a pen plotter for the fine line elements. Still life balance, 72 x 120 inches, charcoal, pen and acrylic on Rives Paper, 2022
20 x 30, ink and charcoal on paper, 2022
This series depicts ghostly portraits enshrouded in colorful lines that drape around a faceless figure—each print is a different iteration of the same composition. I have been using the same 18 x 24-inch copper plate repeatedly; ghost printing, as it is known in printmaking, is a process in which an image on the plate is reprinted, albeit quite faint. The indistinguishable portraits become identified only by their shared marks. Faceless Print Series, Monoprint on paper, 20 x 30 inches, 2015
The following series of works on paper are in direct reference to the Faceless prints, each print/drawing is a rubbing of a previous drawing/print. A simple process in which the excess ink is removed by applying light pressure on drawing paper over the inked-up copper plate. Only the hand-applied ink is captured, leaving the blacks of the etched image absent. 24 x 32 inches, ink on paper, 2017
