About Me

There is a particular kind of quiet that falls over a studio at night; when the only light is a lamp bent low over a workbench, and the only sound is the striking of a hammer against silver, or a brush dragging color across a canvas. That quiet is where I live.

I work in two languages that speak to the same obsession: metal and paint.

The Silversmith

Most people know me first as a silversmith. I work primarily in sterling silver and 18k gold, as I am drawn again and again to hammered textures. Its’ surface can hold the memory of every strike, every imperfection turned intentional. My chains are built link by link inspired by medieval chainmail patterns, an old and patient craft that rewards meticulous effort more than speed.

There is a warmth that only human hands can leave behind. A machine can produce a flawless, identical object a thousand times over, but it cannot leave a fingerprint. It cannot hesitate, reconsider, or fall slightly in love with a piece halfway through. I believe that warmth is not a flaw in handcrafted work, it is the entire point. It evokes emotion and connects the person wearing the piece to the person who made it, and to the raw material; the silver, the gold, the earth it came from — before either of us touched it.

The Painter

My painting practice refuses to sit still in one medium. I move between watercolor, mixed media, acrylic, alcohol ink, and oils, letting the subject matter decide which language it wants to be spoken in.

My style lives in the space between abstract and realism. Subjects are rendered atmospherically, softened at the edges, then interrupted by splashes of color and drips left unapologetically visible. I want the paintings to feel like memory rather than a photograph: true in feeling, loose in detail.

I never paint in silence. Every piece is built alongside music chosen to match the mood. The sound becomes part of the work, even if you can’t hear it in the final piece.

A Renaissance Practice

People have called me a renaissance artist, and I understand why. The disciplines look different from the outside, but underneath they come from the same place: imagination paired with skilled, deliberate labor, and a desire to create works of art with purpose rather than mass-produced items.

This work is slow by nature. The techniques I rely on were built over years of education, experimentation, and no small amount of failure. But slowness is not a cost here, it’s the mechanism. It’s what allows for meticulous detail, for texture, for the kind of finesse that rushed work can’t hold.

In November 2024, I held my first solo art show, Nocturnal’s Tale, running from November 1^st through 3^rd, a body of work born from that same nighttime quiet where all of this begins.

Whether it’s a hammered silver cuff, a hand-built chainmail chain, or a painting still holding the drip of the moment it was made, every piece carries the same intention: to bridge the handmade and the atmospheric, and to bring a little of that artistic passion into the world.