At first glance, the works in Summer Series appear visually distinct, each exploring a different arrangement of forms. Yet together they reveal a consistent through-line—my geometric language. Across the group, the pieces share the same angular structures, layered planes, shifting perspectives, and increasing complexity that define my practice. Though the compositions vary, the underlying approach remains steady: a deliberate play between precision and intuition, depth and flatness, order and disruption. Seen collectively, the series becomes less about uniform imagery and more about a unified way of seeing—one that reflects my ongoing fascination with geometry, perception, and the quiet tension created when space is constructed, fractured, and recomposed.

One of these works, Linear Goes Array, was selected for the gallery’s 25th Anniversary exhibition. Linear Goes Array studies how a single geometric path can break into multiple trajectories, expanding into a dynamic field of angles and movement.

I created this series as part of a companion project within the larger international collaboration between Fountain House Gallery & Studio in New York and Bethlem Gallery in London, where artists are working together on the theme of “coming out of isolation.” In addition to our primary artwork, participants began a postcard exchange: each artist mailed a postcard featuring a small expression of their work to every member of the group, creating a simple but powerful way to build connection across an ocean.

For my postcards, I used a technique new to my practice—scoring the surface and then brushing graphite across it, allowing the geometric forms to reveal themselves through subtle shifts in tone. Each postcard became both an artwork and a gesture—something intimate, personal, and offered freely.

Select postcards may be included in the 2026 Coming Out of Isolation joint exhibitions in New York and London, highlighting the small but meaningful ways we reached outward and connected through art.

While my practice has long been rooted in linear structure, angular geometry, and the meditative repetition of methodical lines, this series introduces a new element into that language: the circle. In geometry, the circle is often associated with equilibrium and centered balance—an anchoring form defined by perfect symmetry. In these works, the orbs act as stabilizing points within shifting planes and directional lines, echoing the quiet tension and suspended balance found in sculptural mobiles. Here, the orbs function as grounded centers within shifting fields of line, plane, and division—allowing the circular form to interact with, disrupt, and define space, becoming the focal point of each composition and, ultimately, the series as a whole.

In early 2024, I began developing a new series without the constraints of an upcoming show or curatorial theme. This open space allowed me to return to my geometric foundations while pushing myself in new directions. I chose to work in a consistent 11” x 14” format and challenged myself to incorporate color—a deliberate departure from my usual monochromatic approach. My goal was to create a series that could function both as individual pieces and as a cohesive collection. Over the course of the project, I produced thirty works that combine color blocking, geometric forms, and precise linear structure. Together, they form an exploration of proportion, balance, and the ways in which color can shift the perception of space.

A selection of pieces from this series was featured at the Outsider Art Fair in New York (2025) and at the Open Invitational Art Fair during Miami Basel (2025).

The Black Series was created during my Fountain House Gallery residency on Governor’s Island, a period of intense experimentation and discovery. While working there, I began drawing with pencil on black paper for the first time and was immediately struck by the unexpected luminosity of the lines. Against the dark surface, each mark appeared sharper, brighter, and more dimensional—revealing geometric structures with a clarity that felt both new and deeply aligned with my physics- and mathematics-influenced practice.

Captivated by this effect, I committed to exploring it fully. Over the course of the residency, I created seventeen works using this technique, allowing the material to guide the evolution of the series. The limited palette shifted all attention to line, form, and spatial tension; the drawings became studies in precision, rhythm, and architectural movement. Working in black fundamentally reshaped how the geometry emerged, creating a coherent and cohesive body of work unified by contrast and restraint.

Several pieces from this series were later selected for Fountain House Gallery’s Compulsive Genius exhibition, where they highlighted the structural clarity and obsessive precision that define this chapter of my practice. The Black Series remains one of the most significant bodies of work I’ve produced—born from a quiet island environment, a new material discovery, and a deepened understanding of how line alone can articulate space.

Created for the City Vision exhibition, this piece began with a rapid photograph taken in Manhattan’s Financial District. Unlike much of my work—where I interpret a space rather than replicate it—I approached this image with deliberate precision. I translated the photograph literally, using my signature linear style to recreate the exact perspective and overlapping geometry of the buildings. The result highlights the striking patterns and reflections that define New York City’s architectural rhythm.

RED — Exhibition & Artist Statement
(Curated by Pamela Bell and Nancy Caton; exhibition concept by Nancy Caton.)

RED grew out of a curatorial proposal I initiated for Fountain House Gallery. Unlike the conceptual frameworks that typically define group exhibitions, I wanted to center a single color—one that carries an unusually charged emotional range. Red can signal passion or protest, warmth or warning; it is a hue that provokes immediate, often conflicting reactions. By choosing a theme rooted in color rather than concept, I hoped to open up a wide spectrum of interpretation, allowing each artist to articulate their own response through their chosen medium. The result was an exhibition that revealed just how polarizing and expressive this primary color can be. RED_Press Release

Curated jointly with Pamela Bell, the exhibition featured more than forty works that explored red’s intensity, symbolism, and emotional weight—from softness to severity, from affection to agitation. This diversity was exactly what I had envisioned when proposing the show: a space where a single color could become a catalyst for radically different artistic voices and visual languages.

For my own contributions, I approached red through the lens of geometry and structure. In these pieces, the color operates not as decoration but as focus—punctuating fields of linear pattern, anchoring shifting planes, and sharpening the spatial tension within each composition. The red forms act as interruptions or anchors inside larger systems of lines, drawing attention to movement, direction, and internal rhythm. In keeping with my practice, each work investigates how geometry can create order, momentum, and dimensionality, but here, red becomes the initiating force: the point of heat, weight, and visual gravity.

Together, the exhibition and my pieces reflect the emotional contradictions embedded in the color itself—simultaneously bold and precise, forceful and controlled. RED allowed me not only to contribute as an artist, but to shape a shared framework that invited others to step into the expressive possibilities of a single, powerful hue.

If you'd like, I can also format this into two separate sections, or write micro blurbs to accompany each of the three red works individually.

Interior Study strips away color, objects, and distraction to focus solely on the architecture of space itself. By choosing specific viewpoints, each work highlights the inherent beauty of the interior’s structure—its walls, windows, and planes—reduced to their essential geometry. In removing everything nonessential, what remains is the interior, pared down to its essential form, structure, and quiet clarity.

A casual, late-night stop at the street corner suddenly took hold of my full attention. It was a moment of both wonder and appreciation for being immersed in the magic that is New York City. Compelled by this sudden inspiration, I took multiple photographs and a few short videos of the street scene from the same vantage point. When stopped, the movement of the city became palpable. It felt alive, and made me feel alive. It was a reminder of why I have lived here for so long.

I later edited the images, purposely “blowing out” and overexposing them. My intention was to blur the specific details, so that what emerged was pareddown to the base feeling of the moment. Devoid of distinct features - a form of sensory deprivation - it necessarily fosters a heightening of the viewer's other senses and feelings.

The finished product embodies the show theme of “Rise.” It is intended to provide inspiration for the future by documenting the continued motion and unique resilience that has emerged during these challenging times.

The movement throughout the work is key, as it evokes the buoyancy of humanity despite adversity. The work articulates the beauty to be discovered in the action of pausing.