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01
Man with Lemon
I was drawn to the man's concentration on something very small in front of him. The yellow fruit becomes a bright point against his blue clothing, while the rest of the room stays soft and quiet.
01 / 01
Man with Lemon
I was drawn to the man's concentration on something very small in front of him. The yellow fruit becomes a bright point against his blue clothing, while the rest of the room stays soft and quiet.
01
Man with Lemon
I was drawn to the man's concentration on something very small in front of him. The yellow fruit becomes a bright point against his blue clothing, while the rest of the room stays soft and quiet.
People
People interest me because even a small gesture, expression, or posture can reveal so much. I’m drawn to individuals in both quiet and active moments—working, resting, gathering, performing, or simply being themselves. Whether I’m painting a portrait or placing a figure within a larger scene, I try to capture something distinctive about the person and the moment that made me want to look more closely.
01
Roz
Roz's profile and the quiet light were enough for me. I wanted the portrait to feel unforced, with her seated pose and the soft interior colors doing more than any elaborate setting would.
02
Caffe Reggio
The red interior gives this café a kind of enclosed warmth. I liked the solitary figure tucked into the shadows, where the light is just enough to describe the room without opening it up completely.
03
Mermaid
Against the surrounding buildings, the sculpture takes on a life of its own. The mermaid's curves and the fish she holds feel especially animated beside the straight windows and masonry behind her.
04
Sculpture at Greenwood Cemetery
The weathering was as interesting to me as the sculpture itself. Blue-green color settles into the figure and stone, making the surface feel layered with time rather than simply carved.
05
Horse at Times Square
A horse standing in Times Square is already a wonderful contradiction. I liked the quiet weight of the animal against all the street markings, theater lights, and city activity stretching away behind it.
06
Women's March 1
The trombone practically walks into the painting before anything else does. I liked using that huge brass shape to lead into the marchers and signs behind it, where the crowd keeps unfolding.
07
Self-Portrait with Graffiti
I wanted the self-portrait to stand inside the visual noise rather than apart from it. I used wrapping paper to create the dress, while the red graffiti, marks, and fragments crowd the background and the figure stays direct and calm in front.
08
Bailey Fountain
I loved the scale difference between the small child and the fountain behind her. The falling water turns the sculpture into a pale curtain, while the child remains wonderfully solid in front.
09
East Village Cafe
Looking out from the café rather than in from the street changes the whole scene. The window divides the city into small framed views, while the seated figure in front keeps us firmly inside.
10
Cafe
The chair backs and seated figures create a little wall of shapes across the foreground. The cool blue light and the woman resting her face in her hand give the café a wonderfully unhurried feeling.
11
Dean & Deluca
From above, the store becomes almost diagram-like. The counters, displays, and people fit together as a pattern, but the small gestures of the shoppers keep the drawing from becoming purely geometric.
12
Architectural Details
I enjoy architectural details that are easy to miss when you take in an entire building. Here the carved face and curling stonework become almost a portrait, and graphite and ink let me stay with every small edge.
13
Writing a Letter
The light is what made this scene for me. The figure is almost entirely in silhouette, surrounded by the warm glow of the lamps and the pale curtain, which makes a private moment feel especially still.
14
Bistro on Driggs Avenue
There is a lot of space between the two figures, and that is what held my attention. The bright opening behind them makes the dark interior feel even quieter, almost like a pause in the middle of the day.
15
Havana
Havana came together for me through layers rather than a single view. The figure, open framework, equestrian statue, old buildings, and painted fragments overlap like pieces of the city remembered at different distances.
16
Abigail's
What interested me was the layering—the dark figures inside, the street beyond the glass, and all the reflections caught between them. The window turns an ordinary restaurant moment into several scenes at once.
01 / 16
Roz
Roz's profile and the quiet light were enough for me. I wanted the portrait to feel unforced, with her seated pose and the soft interior colors doing more than any elaborate setting would.
01
Roz
Roz's profile and the quiet light were enough for me. I wanted the portrait to feel unforced, with her seated pose and the soft interior colors doing more than any elaborate setting would.
02
Caffe Reggio
The red interior gives this café a kind of enclosed warmth. I liked the solitary figure tucked into the shadows, where the light is just enough to describe the room without opening it up completely.
03
Mermaid
Against the surrounding buildings, the sculpture takes on a life of its own. The mermaid's curves and the fish she holds feel especially animated beside the straight windows and masonry behind her.
04
Sculpture at Greenwood Cemetery
The weathering was as interesting to me as the sculpture itself. Blue-green color settles into the figure and stone, making the surface feel layered with time rather than simply carved.
05
Horse at Times Square
A horse standing in Times Square is already a wonderful contradiction. I liked the quiet weight of the animal against all the street markings, theater lights, and city activity stretching away behind it.
06
Women's March 1
The trombone practically walks into the painting before anything else does. I liked using that huge brass shape to lead into the marchers and signs behind it, where the crowd keeps unfolding.
07
Self-Portrait with Graffiti
I wanted the self-portrait to stand inside the visual noise rather than apart from it. I used wrapping paper to create the dress, while the red graffiti, marks, and fragments crowd the background and the figure stays direct and calm in front.
08
Bailey Fountain
I loved the scale difference between the small child and the fountain behind her. The falling water turns the sculpture into a pale curtain, while the child remains wonderfully solid in front.
09
East Village Cafe
Looking out from the café rather than in from the street changes the whole scene. The window divides the city into small framed views, while the seated figure in front keeps us firmly inside.
10
Cafe
The chair backs and seated figures create a little wall of shapes across the foreground. The cool blue light and the woman resting her face in her hand give the café a wonderfully unhurried feeling.
11
Dean & Deluca
From above, the store becomes almost diagram-like. The counters, displays, and people fit together as a pattern, but the small gestures of the shoppers keep the drawing from becoming purely geometric.
12
Architectural Details
I enjoy architectural details that are easy to miss when you take in an entire building. Here the carved face and curling stonework become almost a portrait, and graphite and ink let me stay with every small edge.
13
Writing a Letter
The light is what made this scene for me. The figure is almost entirely in silhouette, surrounded by the warm glow of the lamps and the pale curtain, which makes a private moment feel especially still.
14
Bistro on Driggs Avenue
There is a lot of space between the two figures, and that is what held my attention. The bright opening behind them makes the dark interior feel even quieter, almost like a pause in the middle of the day.
15
Havana
Havana came together for me through layers rather than a single view. The figure, open framework, equestrian statue, old buildings, and painted fragments overlap like pieces of the city remembered at different distances.
16
Abigail's
What interested me was the layering—the dark figures inside, the street beyond the glass, and all the reflections caught between them. The window turns an ordinary restaurant moment into several scenes at once.
- Oil portrait of a seated woman named Roz shown in profile in a softly lit interior.
- Oil painting of a dark red café interior with a solitary seated figure.
- Graphite and ink drawing of a mermaid sculpture holding a fish with city buildings in the background.
- Oil painting of a weathered blue-green female sculpture at Green-Wood Cemetery.
- Oil painting of a carriage horse standing at the curb in Times Square amid bright city streets and theater lights.
- Oil painting of a trombone player in the foreground of a protest march with signs and people behind.
- Collage and oil self-portrait of a woman wearing sunglasses against a dense red graffiti-covered background.
- Oil painting of a child standing in front of Bailey Fountain as streams of water veil the sculpture behind.
- Oil painting from inside an East Village café, showing a seated figure and the city through a large window.
- Oil painting of people seated in a blue-toned café, including a woman resting her face in her hand.
- Graphite drawing from above of shoppers gathered around food counters and displays at Dean & Deluca.
- Graphite and ink drawing of a carved architectural face surrounded by ornate stone scrollwork.
- Oil painting of a silhouetted person writing at a desk between warm lamps and a bright curtained window.
- Large oil painting of two people seated apart in a dark bistro interior near a bright open doorway.
- Collage and oil work combining a standing man, open structural framework, equestrian statue, and Havana city buildings.
- Oil painting of figures inside a restaurant with a bright street scene and reflections visible through the window.
01
Buskers in Prague
I loved how the instruments take over the composition. The bass, flute, and accordion overlap the musicians so completely that the group becomes one busy shape full of movement and sound.
02
Philharmonic
I kept coming back to the tangle of bows, arms, instruments, and music stands. Up close, an orchestra is as much a pattern of shapes and gestures as it is a group of individual musicians.
03
Drummers' Circle
The circle is informal, but every drum and every body seems connected to the next. I wanted to keep that sense of shared rhythm while still letting the individual faces, hats, and instruments stay distinct.
04
New Orleans Jazz
The instruments gave me the structure, but the patterned collage let the music spill beyond the players. Brass, blue uniforms, flowers, and repeated motifs make the scene feel as ceremonial as it is lively.
05
Man With Harp
The harp's curve is almost as much a portrait subject as the man beside it. I liked the way the instrument fills the foreground while the seated figure stays relaxed in the light from the doorway.
06
Early Self Portrait
In this early self-portrait, I was more interested in catching a private expression than in presenting myself formally. The downward gaze and ordinary room keep the painting close and unguarded.
07
Late Night Cafe
The café is almost swallowed by darkness, which makes the small pools of light feel important. I was drawn to the lone figure tucked into the red booths and the sense of the room settling down for the night.
01 / 07
Buskers in Prague
I loved how the instruments take over the composition. The bass, flute, and accordion overlap the musicians so completely that the group becomes one busy shape full of movement and sound.
01
Buskers in Prague
I loved how the instruments take over the composition. The bass, flute, and accordion overlap the musicians so completely that the group becomes one busy shape full of movement and sound.
02
Philharmonic
I kept coming back to the tangle of bows, arms, instruments, and music stands. Up close, an orchestra is as much a pattern of shapes and gestures as it is a group of individual musicians.
03
Drummers' Circle
The circle is informal, but every drum and every body seems connected to the next. I wanted to keep that sense of shared rhythm while still letting the individual faces, hats, and instruments stay distinct.
04
New Orleans Jazz
The instruments gave me the structure, but the patterned collage let the music spill beyond the players. Brass, blue uniforms, flowers, and repeated motifs make the scene feel as ceremonial as it is lively.
05
Man With Harp
The harp's curve is almost as much a portrait subject as the man beside it. I liked the way the instrument fills the foreground while the seated figure stays relaxed in the light from the doorway.
06
Early Self Portrait
In this early self-portrait, I was more interested in catching a private expression than in presenting myself formally. The downward gaze and ordinary room keep the painting close and unguarded.
07
Late Night Cafe
The café is almost swallowed by darkness, which makes the small pools of light feel important. I was drawn to the lone figure tucked into the red booths and the sense of the room settling down for the night.
- Oil painting of street musicians in Prague playing an upright bass, flute, and accordion.
- Oil painting of closely grouped orchestra musicians playing string instruments.
- Oil painting of a group of people playing hand drums together in a wooded park.
- Collage and oil painting of New Orleans jazz musicians in blue uniforms playing brass instruments.
- Oil painting of an older man seated beside a large harp in a bright interior.
- Oil self-portrait of a young woman seated indoors, looking downward beside a wooden dresser.
- Oil painting of a dark late-night café with red booths, a lamp, and one seated figure.
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