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01
We're on a Roll
The humor is in the everydayness of the scene: a food cart parked against a wall that is practically a painting by itself. The yellow umbrella, figure, stickers, and graffiti all compete without canceling one another out.
01 / 01
We're on a Roll
The humor is in the everydayness of the scene: a food cart parked against a wall that is practically a painting by itself. The yellow umbrella, figure, stickers, and graffiti all compete without canceling one another out.
01
We're on a Roll
The humor is in the everydayness of the scene: a food cart parked against a wall that is practically a painting by itself. The yellow umbrella, figure, stickers, and graffiti all compete without canceling one another out.
Streets
City streets give me an endless mix of movement, color, architecture, and unexpected detail. I’m drawn to the way people, traffic, storefronts, signs, reflections, and weather all come together in a single moment. Whether I’m working in oil or watercolor, I want to capture the energy of the street while still giving the viewer time to notice the smaller things that might otherwise pass by.
01
West 31st and Broadway
Street signs can be as much a part of New York's visual character as the buildings. Here they stack up against storefronts and traffic, giving the corner its own jumble of directions and names.
02
Crosswalk
At a busy crosswalk, everyone has a different direction and pace. I wanted the foreground figures to feel close enough to brush past, while the taxis and buildings dissolve gradually into the city behind them.
03
Crossing Thompson Street
What caught me was the green canopy stretching over a very busy street. Traffic fills almost every lane, but the trees soften the whole view and make the yellow taxi and traffic lights feel especially bright.
04
Soho Morning
Morning softened the street enough for the bare branches to become part of the architecture. I liked how their dark lines cross the pale buildings and lead into a neighborhood that is only beginning to wake up.
05
Entrance to the Ferry
The red umbrella was the small spark that made the scene work for me. Everything else is softened by rain and blue-green light, while that one warm shape leads you toward the ferry entrance.
06
Black Umbrella
The black umbrella becomes almost a moving silhouette against the luminous wet street. I liked the way the taxis and reflections stay visible around it without taking attention away from that single dark shape.
07
42nd and Madison
This corner is almost dissolved by rain, steam, and reflected light. I liked the small umbrella figure moving through all that blue, with the yellow taxi and construction barrier providing just enough sharp color.
08
Joralemon Street
What interested me was how many kinds of light were bouncing around after the rain. Umbrellas, railings, street lamps, and windows all break the reflections into small pieces across the pavement.
09
Mortal Kombat
The absurd scale of the billboard hovering over such an ordinary street corner is what makes the scene fun. The yellow taxi and neighborhood storefronts keep everything grounded while Mortal Kombat takes over the sky.
10
Chinatown
Chinatown gives you so many signs, colors, and fragments at once that I didn't want to simplify it too much. The red facades and vertical lettering keep the eye moving through the crowded street.
11
Howard and Crosby
The corner signs gave me the anchor for this painting. Around them, the orange facade, black cars, windows, and fire escape stack into a compact little portrait of the intersection.
12
One Way
This was less about a destination than the collection of barriers and directions along the way. The one-way sign, fence, poles, and patched wall build a surprisingly complicated little grid.
13
Yellow Raincoat
The yellow raincoat is tiny against the street, which is exactly why it matters. I liked surrounding that one warm figure with gray rain, red signals, and long reflections so the color has room to glow.
14
Midtown at Night
Midtown at night can turn rain into color. I liked the purples and blues spreading across the pavement while umbrellas, taxis, signs, and figures stay just clear enough to keep the city recognizable.
15
Blue Umbrella
The umbrella is small, but the blue holds its own against the wet street and all the blurred city light around it. I liked letting the rain soften almost everything else.
16
Evening Stroll
The two walkers feel small inside all that evening light and reflection. I liked the tall format because it lets the wet path, umbrella, railings, trees, and distant city stack one above another.
17
Man Walking
On this small panel, I liked keeping the scene simple: one man walking through a trail of streetlights. The dark city around him makes each round light feel brighter and the walk feel more solitary.
18
Radio City, Warm Hues
I wanted the wet street to carry as much color as the signs and buildings. The reflections stretch the warm lights downward, and the single pedestrian gives all that nighttime brightness a human scale.
19
SPQR
The street curves easily through all the signs, awnings, storefronts, and a passing cyclist. Red accents keep popping up along the way without making the scene feel crowded.
20
Sideshow
I was interested in the view from inside the crowd rather than from the stage. The backs of the figures lead straight to that wonderfully loud sideshow sign, where color and lettering do most of the talking.
21
Near Canal
The long view down the street was what interested me—the trucks, cars, and buildings all stepping back toward a bright opening. Warm brick and pavement make the whole corridor feel sunlit and lived in.
22
Uptown
This street felt expansive even though it is lined with cars and buildings. I liked the way the view opens toward a hazy distance, with warm facades on one side and cooler shadows on the other.
23
City Lights
The city at night can feel like two places at once: solid buildings above and a field of color, lights, and movement below. I enjoyed letting those layers overlap until the whole scene began to glow.
24
Intersection
An intersection is already a place where everything crosses, so collage felt natural here. Buildings, traffic, a bicyclist, and broken foreground fragments all arrive at once, without settling into a single neat view.
25
Two Cars
At night, the headlights do most of the drawing. I liked the way the two cars emerge from the darkness and throw white and amber light across the wet road.
26
Headlights and Drizzle
I wanted the headlights to feel almost physical, cutting through the drizzle and stretching across the wet pavement. The orange-red glow turns an ordinary night street into something much more charged.
27
J, M, and F
The yellow railings first caught my eye, especially against all the cool grays and blues. The stairs, tracks, and umbrella figure turn an ordinary subway entrance into a composition full of intersecting lines.
28
Rain and Traffic
Here I let the rain do some of the drawing. The taxis, bus, and pedestrians are still recognizable, but their edges slip into one another until the whole traffic jam becomes a field of color and motion.
29
Thompson Street
This is one of those sidewalk moments that can disappear if you walk too quickly. The people, green stems, and bright yellow flowers make a small pocket of color and exchange in the middle of the street.
30
America
This collage grew out of accumulation: flag fragments, buildings, signs, figures, and bits of popular imagery all competing for space. I wanted that density—the sense that 'America' can arrive as many images at once.
31
Soho, Early Evening
Early evening is when the street and the interiors start competing for attention. I liked the warm shop windows against the cooler street, with the parked cars and signs holding the neighborhood together.
01 / 31
West 31st and Broadway
Street signs can be as much a part of New York's visual character as the buildings. Here they stack up against storefronts and traffic, giving the corner its own jumble of directions and names.
01
West 31st and Broadway
Street signs can be as much a part of New York's visual character as the buildings. Here they stack up against storefronts and traffic, giving the corner its own jumble of directions and names.
02
Crosswalk
At a busy crosswalk, everyone has a different direction and pace. I wanted the foreground figures to feel close enough to brush past, while the taxis and buildings dissolve gradually into the city behind them.
03
Crossing Thompson Street
What caught me was the green canopy stretching over a very busy street. Traffic fills almost every lane, but the trees soften the whole view and make the yellow taxi and traffic lights feel especially bright.
04
Soho Morning
Morning softened the street enough for the bare branches to become part of the architecture. I liked how their dark lines cross the pale buildings and lead into a neighborhood that is only beginning to wake up.
05
Entrance to the Ferry
The red umbrella was the small spark that made the scene work for me. Everything else is softened by rain and blue-green light, while that one warm shape leads you toward the ferry entrance.
06
Black Umbrella
The black umbrella becomes almost a moving silhouette against the luminous wet street. I liked the way the taxis and reflections stay visible around it without taking attention away from that single dark shape.
07
42nd and Madison
This corner is almost dissolved by rain, steam, and reflected light. I liked the small umbrella figure moving through all that blue, with the yellow taxi and construction barrier providing just enough sharp color.
08
Joralemon Street
What interested me was how many kinds of light were bouncing around after the rain. Umbrellas, railings, street lamps, and windows all break the reflections into small pieces across the pavement.
09
Mortal Kombat
The absurd scale of the billboard hovering over such an ordinary street corner is what makes the scene fun. The yellow taxi and neighborhood storefronts keep everything grounded while Mortal Kombat takes over the sky.
10
Chinatown
Chinatown gives you so many signs, colors, and fragments at once that I didn't want to simplify it too much. The red facades and vertical lettering keep the eye moving through the crowded street.
11
Howard and Crosby
The corner signs gave me the anchor for this painting. Around them, the orange facade, black cars, windows, and fire escape stack into a compact little portrait of the intersection.
12
One Way
This was less about a destination than the collection of barriers and directions along the way. The one-way sign, fence, poles, and patched wall build a surprisingly complicated little grid.
13
Yellow Raincoat
The yellow raincoat is tiny against the street, which is exactly why it matters. I liked surrounding that one warm figure with gray rain, red signals, and long reflections so the color has room to glow.
14
Midtown at Night
Midtown at night can turn rain into color. I liked the purples and blues spreading across the pavement while umbrellas, taxis, signs, and figures stay just clear enough to keep the city recognizable.
15
Blue Umbrella
The umbrella is small, but the blue holds its own against the wet street and all the blurred city light around it. I liked letting the rain soften almost everything else.
16
Evening Stroll
The two walkers feel small inside all that evening light and reflection. I liked the tall format because it lets the wet path, umbrella, railings, trees, and distant city stack one above another.
17
Man Walking
On this small panel, I liked keeping the scene simple: one man walking through a trail of streetlights. The dark city around him makes each round light feel brighter and the walk feel more solitary.
18
Radio City, Warm Hues
I wanted the wet street to carry as much color as the signs and buildings. The reflections stretch the warm lights downward, and the single pedestrian gives all that nighttime brightness a human scale.
19
SPQR
The street curves easily through all the signs, awnings, storefronts, and a passing cyclist. Red accents keep popping up along the way without making the scene feel crowded.
20
Sideshow
I was interested in the view from inside the crowd rather than from the stage. The backs of the figures lead straight to that wonderfully loud sideshow sign, where color and lettering do most of the talking.
21
Near Canal
The long view down the street was what interested me—the trucks, cars, and buildings all stepping back toward a bright opening. Warm brick and pavement make the whole corridor feel sunlit and lived in.
22
Uptown
This street felt expansive even though it is lined with cars and buildings. I liked the way the view opens toward a hazy distance, with warm facades on one side and cooler shadows on the other.
23
City Lights
The city at night can feel like two places at once: solid buildings above and a field of color, lights, and movement below. I enjoyed letting those layers overlap until the whole scene began to glow.
24
Intersection
An intersection is already a place where everything crosses, so collage felt natural here. Buildings, traffic, a bicyclist, and broken foreground fragments all arrive at once, without settling into a single neat view.
25
Two Cars
At night, the headlights do most of the drawing. I liked the way the two cars emerge from the darkness and throw white and amber light across the wet road.
26
Headlights and Drizzle
I wanted the headlights to feel almost physical, cutting through the drizzle and stretching across the wet pavement. The orange-red glow turns an ordinary night street into something much more charged.
27
J, M, and F
The yellow railings first caught my eye, especially against all the cool grays and blues. The stairs, tracks, and umbrella figure turn an ordinary subway entrance into a composition full of intersecting lines.
28
Rain and Traffic
Here I let the rain do some of the drawing. The taxis, bus, and pedestrians are still recognizable, but their edges slip into one another until the whole traffic jam becomes a field of color and motion.
29
Thompson Street
This is one of those sidewalk moments that can disappear if you walk too quickly. The people, green stems, and bright yellow flowers make a small pocket of color and exchange in the middle of the street.
30
America
This collage grew out of accumulation: flag fragments, buildings, signs, figures, and bits of popular imagery all competing for space. I wanted that density—the sense that 'America' can arrive as many images at once.
31
Soho, Early Evening
Early evening is when the street and the interiors start competing for attention. I liked the warm shop windows against the cooler street, with the parked cars and signs holding the neighborhood together.
- Oil painting of West 31st Street and Broadway with clustered street signs, storefronts, traffic, and pedestrians.
- Oil painting of pedestrians crossing a busy city street with a yellow taxi and traffic in the background.
- Painting of a busy Thompson Street crossing with cars, a yellow taxi, traffic lights, and a leafy green tree canopy.
- Oil painting of a quiet SoHo street in the morning with bare branches crossing in front of pale buildings.
- Oil painting of people entering a ferry terminal in the rain, with a red umbrella beneath large ferry lettering.
- Oil painting of a person under a black umbrella crossing a wet city street with yellow taxis.
- Rainy painting of 42nd Street and Madison Avenue with an umbrella figure, yellow taxi, steam, and street barriers.
- Oil painting of a rainy Joralemon Street scene with umbrellas, a subway entrance, railings, and wet reflections.
- Oil painting of a city street with a large Mortal Kombat billboard above a yellow taxi and storefronts.
- Oil painting of a busy Chinatown street with red buildings, vertical signs, traffic, and pedestrians.
- Oil painting of the corner of Howard and Crosby Streets with street signs, an orange building, fire escape, and cars.
- Oil painting of a one-way street sign in front of chain-link fencing, poles, and an industrial building.
- Oil painting of a small figure in a yellow raincoat walking through a broad rainy city street.
- Night painting of Midtown in the rain with umbrellas, yellow taxis, glowing signs, and purple-blue street reflections.
- Oil painting of a rainy city street with a person under a blue umbrella, taxis, and wet reflections.
- Oil painting of two people taking an evening walk under an umbrella beside wet railings and city lights.
- Small oil painting on wood panel of a man walking along a city sidewalk at night under glowing streetlights.
- Oil painting of Radio City at night with wet pavement, glowing signs, reflections, and a pedestrian.
- Oil painting of a city street corner with a cyclist, red restaurant signs, storefronts, and pedestrians.
- Oil painting of a crowd facing a brightly colored sideshow entrance and marquee.
- Oil painting of a sunlit city street near a canal with trucks, cars, and tall buildings receding into the distance.
- Oil painting of an uptown city street lined with parked cars and buildings fading into a hazy distance.
- Collage and oil cityscape with buildings, colorful lights, and layered neon-like street imagery.
- Collage and oil city scene showing an intersection with buildings, traffic, a bicyclist, and fragmented layers.
- Oil painting of two cars driving at night with bright headlights reflected on wet pavement.
- Oil painting of cars driving through drizzle at night with bright headlights reflected on wet pavement.
- Oil painting of a subway entrance with yellow railings, stairs, elevated tracks, and a person with an umbrella.
- Oil painting of heavy city traffic in the rain with taxis, a bus, pedestrians, and blurred reflections.
- Oil painting of people beside a flower display on Thompson Street with green stems and bright yellow flowers.
- Collage and oil work combining American flag imagery with city buildings, signs, figures, and graphic fragments.
- Oil painting of a SoHo street in early evening with glowing storefronts, parked cars, and city signs.
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