My practice explores the intersection of history, place, and identity through painting, photography, and printmaking. I primarily paint while using photography as a tool to construct referential compositions that inform my imagery. Painting allows me to build surface and atmosphere while photography can offer precision and memory. Printmaking has introduced rhythm and repetition into my process. I am deliberate when choosing a medium to best connect the process with the sentiment.

My work is guided by a historical lens, often inspired by Victorian sentimentalism and the intimacy of traditional craft. I am drawn to the deliberate pace and tactile quality of early industrial techniques, finding value in their slowness and intentionality. Initially, my practice exclusively utilized quick materials, like acrylic and watercolor, as well as modern digital photography. Over time, I have begun to explore more traditional methods such as oil painting for the richness of pigment and texture it allows and the slowness with which it dries, forcing me to spend more time and care on the work.

Photography remains central to how I observe and document the world. Working with film has engaged me in the physicality of the development and printmaking processes. The patience, the chemistry, and the small imperfections mirror the sentimentality I aim to capture in my work. Printmaking connects me to the history of image-making and access to ideas. Working with an 1860s Columbian press during my study abroad year in Newcastle upon Tyne deepened my understanding of how the rhythm of printing shapes both thought and form.

Across these mediums, I explore how traditional craftsmanship and contemporary tools can coexist. My work seeks to bridge past and present, to honor the handmade while engaging with the evolving technologies that shape how we see and preserve our world.