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Art that reflects life, memory, and meaning.
Through abstraction and symbolic imagery, I strive to create art that resonates personally and universally—bridging lived experience with broader cultural conversations. The Art of Samson is not only a portfolio of paintings, drawings, and mixed-media works, but also a platform for dialogue, inspiration, and community.
First Snow (2025)
Watercolor on Paper, 11"x14"
This painting captures my first encounter with a snowstorm after moving from Tampa to Washington, D.C.—a moment of both wonder and challenge. The lone figure trudges forward against the falling snow, footsteps marking a path through the whitened city. A scooter half-buried in drifts and cars coated in icy layers reveal how everyday life becomes transformed and slowed by the storm. For the artist, snow was not only a new subject to observe but also an artistic trial: how to render its softness, its shifting light, and its muffling presence on the world. The work embodies both the quiet resilience of adapting to a new environment and the excitement of translating that first snow into paint.
This painting captures my first encounter with a snowstorm after moving from Tampa to Washington, D.C.—a moment of both wonder and challenge. The lone figure trudges forward against the falling snow, footsteps marking a path through the whitened city. A scooter half-buried in drifts and cars coated in icy layers reveal how everyday life becomes transformed and slowed by the storm. For the artist, snow was not only a new subject to observe but also an artistic trial: how to render its softness, its shifting light, and its muffling presence on the world. The work embodies both the quiet resilience of adapting to a new environment and the excitement of translating that first snow into paint.
Mother & Child (2025)
Watercolor on Paper, 9"x12"
A quiet, tender moment between a mother and her child captured in soft washes and flowing brushwork. This painting seeks to express the wordless bond, the shared stillness, and the protection found in a mother’s gentle embrace. The minimal palette and empty space invite the viewer to pause—reflecting the simplicity and depth of love that needs no embellishment.
A quiet, tender moment between a mother and her child captured in soft washes and flowing brushwork. This painting seeks to express the wordless bond, the shared stillness, and the protection found in a mother’s gentle embrace. The minimal palette and empty space invite the viewer to pause—reflecting the simplicity and depth of love that needs no embellishment.
Boy with Blue Drink (Sold 2025)
Watercolor on Paper, 9"x12"
Cool sips, warmer vibes. 💙✨ Sometimes happiness is just a frozen drink and a moment in the sun.
A striking blend of warmth and cool contrast, this watercolor captures a fleeting moment with bold color and quiet emotion. The boy’s steady gaze and the electric blue drink create a magnetic pull, inviting us into a story just beyond the frame. 🎨✨
Cool sips, warmer vibes. 💙✨ Sometimes happiness is just a frozen drink and a moment in the sun.
A striking blend of warmth and cool contrast, this watercolor captures a fleeting moment with bold color and quiet emotion. The boy’s steady gaze and the electric blue drink create a magnetic pull, inviting us into a story just beyond the frame. 🎨✨
Sunset in Porto, Spain
(2025 Dom Luis Bridge)
Watercolor on Paper, 11"x14"
Porto’s bridges remind us: strength and beauty can stand together.
Porto’s bridges remind us: strength and beauty can stand together.
Meditation on Friendship and Shared Ritual (2025)
Watercolor on Paper, 11"x14"
This watercolor is a meditation on domestic intimacy and the rituals of togetherness. The kitchen, often described as the heart of the home, becomes here both a stage and a sanctuary. Two figures are depicted in mid-task—one chopping herbs with focused precision, the other turned away, absorbed in cooking. Their poses evoke a sense of quiet companionship, where activity itself becomes a form of connection.
The composition is structured around the deliberate use of negative space, which isolates the figures while simultaneously binding them into a shared environment. The stark whiteness of their skin, almost spectral, contrasts sharply with the saturated blues of their shirts and the vibrant tones of the food in the foreground. This contrast elevates the everyday scene into something more symbolic—where the figures become universal placeholders for all who have ever gathered around food and friendship.
Foreground objects—the pineapple, bowls, and onions—are rendered with a tactile richness that pushes them forward, while the background windows, patterned with greenery, suggest both repetition and rhythm. The result is a painting that oscillates between narrative intimacy and formal exploration, situating itself somewhere between realism and abstraction.
Ultimately, the work speaks to how ordinary spaces and tasks—preparing a meal, sharing a kitchen—hold profound meaning. It captures not only the visual presence of its subjects but also the invisible atmosphere of comfort, hospitality, and enduring friendship.
This watercolor is a meditation on domestic intimacy and the rituals of togetherness. The kitchen, often described as the heart of the home, becomes here both a stage and a sanctuary. Two figures are depicted in mid-task—one chopping herbs with focused precision, the other turned away, absorbed in cooking. Their poses evoke a sense of quiet companionship, where activity itself becomes a form of connection.
The composition is structured around the deliberate use of negative space, which isolates the figures while simultaneously binding them into a shared environment. The stark whiteness of their skin, almost spectral, contrasts sharply with the saturated blues of their shirts and the vibrant tones of the food in the foreground. This contrast elevates the everyday scene into something more symbolic—where the figures become universal placeholders for all who have ever gathered around food and friendship.
Foreground objects—the pineapple, bowls, and onions—are rendered with a tactile richness that pushes them forward, while the background windows, patterned with greenery, suggest both repetition and rhythm. The result is a painting that oscillates between narrative intimacy and formal exploration, situating itself somewhere between realism and abstraction.
Ultimately, the work speaks to how ordinary spaces and tasks—preparing a meal, sharing a kitchen—hold profound meaning. It captures not only the visual presence of its subjects but also the invisible atmosphere of comfort, hospitality, and enduring friendship.
Cotswolds UK (2025)
Watercolor on Paper, 11"x14"
Wandering the rolling hills of the Cotswolds, England—where sheep outnumber people and time slows down. 🐑💚 This watercolor captures an amazing time spent visiting a dear friend, taking in the gentle light, soft greens, and the comforting presence of woolly companions grazing nearby. There’s something grounding about walking unfamiliar paths with familiar faces. Grateful for the peace, the laughter, and the reminder that beauty often lives in the in-between moments.
Wandering the rolling hills of the Cotswolds, England—where sheep outnumber people and time slows down. 🐑💚 This watercolor captures an amazing time spent visiting a dear friend, taking in the gentle light, soft greens, and the comforting presence of woolly companions grazing nearby. There’s something grounding about walking unfamiliar paths with familiar faces. Grateful for the peace, the laughter, and the reminder that beauty often lives in the in-between moments.
Silenced (2025)
Watercolor on Paper, 9"x12"
Inspired by The Scream by Edvard Munch
In a room bursting with color and bloom, a lone figure sits muted—her mouth absent, her voice unseen. Surrounded by symbols of warmth and life, she becomes a silent presence, swallowed by a world that refuses to listen. Her green hair glows like a signal fire, yet no words escape.
This piece is about the quiet violence of silencing—the kind that doesn’t scream but seeps in through expectation, fear, or oppression. It’s a portrait of those who have been asked to stay quiet, behave, conform… until their screams are turned inward.
Like Munch’s figure on the bridge, this woman is mid-scream—but the world has erased her mouth.
Inspired by The Scream by Edvard Munch
In a room bursting with color and bloom, a lone figure sits muted—her mouth absent, her voice unseen. Surrounded by symbols of warmth and life, she becomes a silent presence, swallowed by a world that refuses to listen. Her green hair glows like a signal fire, yet no words escape.
This piece is about the quiet violence of silencing—the kind that doesn’t scream but seeps in through expectation, fear, or oppression. It’s a portrait of those who have been asked to stay quiet, behave, conform… until their screams are turned inward.
Like Munch’s figure on the bridge, this woman is mid-scream—but the world has erased her mouth.
Injustice/Greed For Gold (2025)
Watercolor on Paper, 11"x14"
This painting revisits the violent legacy of the 1887 Chinese Massacre Cove, where a group of Chinese gold miners were ambushed and slaughtered on the Snake River. The central figure—dressed in frontier garb, pistols blazing—stands astride a river of blood, its current littered with numbered queue (long hair braids) that echo the nameless and uncounted lives lost. Words like “God, Gold, Greed, Gun, Gore, Gone” and “Force” rise like smoke, underscoring the brutal intersection of profit, racism, and power that drove the killings. The composition, with its splattered reds and winding serpentine forms, mirrors both the river’s flow and the violence that stained it.
More than a depiction of a single historical atrocity, this work is a meditation on how greed and systemic violence erased lives, leaving only fragments of memory. It reminds viewers that the gold rush frontier was not just a place of opportunity, but also of exclusion and bloodshed—where the pursuit of wealth justified unimaginable cruelty against marginalized communities.
This painting revisits the violent legacy of the 1887 Chinese Massacre Cove, where a group of Chinese gold miners were ambushed and slaughtered on the Snake River. The central figure—dressed in frontier garb, pistols blazing—stands astride a river of blood, its current littered with numbered queue (long hair braids) that echo the nameless and uncounted lives lost. Words like “God, Gold, Greed, Gun, Gore, Gone” and “Force” rise like smoke, underscoring the brutal intersection of profit, racism, and power that drove the killings. The composition, with its splattered reds and winding serpentine forms, mirrors both the river’s flow and the violence that stained it.
More than a depiction of a single historical atrocity, this work is a meditation on how greed and systemic violence erased lives, leaving only fragments of memory. It reminds viewers that the gold rush frontier was not just a place of opportunity, but also of exclusion and bloodshed—where the pursuit of wealth justified unimaginable cruelty against marginalized communities.
First Snow (2025)
Watercolor on Paper, 11"x14"
This painting captures my first encounter with a snowstorm after moving from Tampa to Washington, D.C.—a moment of both wonder and challenge. The lone figure trudges forward against the falling snow, footsteps marking a path through the whitened city. A scooter half-buried in drifts and cars coated in icy layers reveal how everyday life becomes transformed and slowed by the storm. For the artist, snow was not only a new subject to observe but also an artistic trial: how to render its softness, its shifting light, and its muffling presence on the world. The work embodies both the quiet resilience of adapting to a new environment and the excitement of translating that first snow into paint.
This painting captures my first encounter with a snowstorm after moving from Tampa to Washington, D.C.—a moment of both wonder and challenge. The lone figure trudges forward against the falling snow, footsteps marking a path through the whitened city. A scooter half-buried in drifts and cars coated in icy layers reveal how everyday life becomes transformed and slowed by the storm. For the artist, snow was not only a new subject to observe but also an artistic trial: how to render its softness, its shifting light, and its muffling presence on the world. The work embodies both the quiet resilience of adapting to a new environment and the excitement of translating that first snow into paint.
Mother & Child (2025)
Watercolor on Paper, 9"x12"
A quiet, tender moment between a mother and her child captured in soft washes and flowing brushwork. This painting seeks to express the wordless bond, the shared stillness, and the protection found in a mother’s gentle embrace. The minimal palette and empty space invite the viewer to pause—reflecting the simplicity and depth of love that needs no embellishment.
A quiet, tender moment between a mother and her child captured in soft washes and flowing brushwork. This painting seeks to express the wordless bond, the shared stillness, and the protection found in a mother’s gentle embrace. The minimal palette and empty space invite the viewer to pause—reflecting the simplicity and depth of love that needs no embellishment.
Boy with Blue Drink (Sold 2025)
Watercolor on Paper, 9"x12"
Cool sips, warmer vibes. 💙✨ Sometimes happiness is just a frozen drink and a moment in the sun.
A striking blend of warmth and cool contrast, this watercolor captures a fleeting moment with bold color and quiet emotion. The boy’s steady gaze and the electric blue drink create a magnetic pull, inviting us into a story just beyond the frame. 🎨✨
Cool sips, warmer vibes. 💙✨ Sometimes happiness is just a frozen drink and a moment in the sun.
A striking blend of warmth and cool contrast, this watercolor captures a fleeting moment with bold color and quiet emotion. The boy’s steady gaze and the electric blue drink create a magnetic pull, inviting us into a story just beyond the frame. 🎨✨
Sunset in Porto, Spain
(2025 Dom Luis Bridge)
Watercolor on Paper, 11"x14"
Porto’s bridges remind us: strength and beauty can stand together.
Porto’s bridges remind us: strength and beauty can stand together.
Meditation on Friendship and Shared Ritual (2025)
Watercolor on Paper, 11"x14"
This watercolor is a meditation on domestic intimacy and the rituals of togetherness. The kitchen, often described as the heart of the home, becomes here both a stage and a sanctuary. Two figures are depicted in mid-task—one chopping herbs with focused precision, the other turned away, absorbed in cooking. Their poses evoke a sense of quiet companionship, where activity itself becomes a form of connection.
The composition is structured around the deliberate use of negative space, which isolates the figures while simultaneously binding them into a shared environment. The stark whiteness of their skin, almost spectral, contrasts sharply with the saturated blues of their shirts and the vibrant tones of the food in the foreground. This contrast elevates the everyday scene into something more symbolic—where the figures become universal placeholders for all who have ever gathered around food and friendship.
Foreground objects—the pineapple, bowls, and onions—are rendered with a tactile richness that pushes them forward, while the background windows, patterned with greenery, suggest both repetition and rhythm. The result is a painting that oscillates between narrative intimacy and formal exploration, situating itself somewhere between realism and abstraction.
Ultimately, the work speaks to how ordinary spaces and tasks—preparing a meal, sharing a kitchen—hold profound meaning. It captures not only the visual presence of its subjects but also the invisible atmosphere of comfort, hospitality, and enduring friendship.
This watercolor is a meditation on domestic intimacy and the rituals of togetherness. The kitchen, often described as the heart of the home, becomes here both a stage and a sanctuary. Two figures are depicted in mid-task—one chopping herbs with focused precision, the other turned away, absorbed in cooking. Their poses evoke a sense of quiet companionship, where activity itself becomes a form of connection.
The composition is structured around the deliberate use of negative space, which isolates the figures while simultaneously binding them into a shared environment. The stark whiteness of their skin, almost spectral, contrasts sharply with the saturated blues of their shirts and the vibrant tones of the food in the foreground. This contrast elevates the everyday scene into something more symbolic—where the figures become universal placeholders for all who have ever gathered around food and friendship.
Foreground objects—the pineapple, bowls, and onions—are rendered with a tactile richness that pushes them forward, while the background windows, patterned with greenery, suggest both repetition and rhythm. The result is a painting that oscillates between narrative intimacy and formal exploration, situating itself somewhere between realism and abstraction.
Ultimately, the work speaks to how ordinary spaces and tasks—preparing a meal, sharing a kitchen—hold profound meaning. It captures not only the visual presence of its subjects but also the invisible atmosphere of comfort, hospitality, and enduring friendship.
Cotswolds UK (2025)
Watercolor on Paper, 11"x14"
Wandering the rolling hills of the Cotswolds, England—where sheep outnumber people and time slows down. 🐑💚 This watercolor captures an amazing time spent visiting a dear friend, taking in the gentle light, soft greens, and the comforting presence of woolly companions grazing nearby. There’s something grounding about walking unfamiliar paths with familiar faces. Grateful for the peace, the laughter, and the reminder that beauty often lives in the in-between moments.
Wandering the rolling hills of the Cotswolds, England—where sheep outnumber people and time slows down. 🐑💚 This watercolor captures an amazing time spent visiting a dear friend, taking in the gentle light, soft greens, and the comforting presence of woolly companions grazing nearby. There’s something grounding about walking unfamiliar paths with familiar faces. Grateful for the peace, the laughter, and the reminder that beauty often lives in the in-between moments.
Silenced (2025)
Watercolor on Paper, 9"x12"
Inspired by The Scream by Edvard Munch
In a room bursting with color and bloom, a lone figure sits muted—her mouth absent, her voice unseen. Surrounded by symbols of warmth and life, she becomes a silent presence, swallowed by a world that refuses to listen. Her green hair glows like a signal fire, yet no words escape.
This piece is about the quiet violence of silencing—the kind that doesn’t scream but seeps in through expectation, fear, or oppression. It’s a portrait of those who have been asked to stay quiet, behave, conform… until their screams are turned inward.
Like Munch’s figure on the bridge, this woman is mid-scream—but the world has erased her mouth.
Inspired by The Scream by Edvard Munch
In a room bursting with color and bloom, a lone figure sits muted—her mouth absent, her voice unseen. Surrounded by symbols of warmth and life, she becomes a silent presence, swallowed by a world that refuses to listen. Her green hair glows like a signal fire, yet no words escape.
This piece is about the quiet violence of silencing—the kind that doesn’t scream but seeps in through expectation, fear, or oppression. It’s a portrait of those who have been asked to stay quiet, behave, conform… until their screams are turned inward.
Like Munch’s figure on the bridge, this woman is mid-scream—but the world has erased her mouth.
Injustice/Greed For Gold (2025)
Watercolor on Paper, 11"x14"
This painting revisits the violent legacy of the 1887 Chinese Massacre Cove, where a group of Chinese gold miners were ambushed and slaughtered on the Snake River. The central figure—dressed in frontier garb, pistols blazing—stands astride a river of blood, its current littered with numbered queue (long hair braids) that echo the nameless and uncounted lives lost. Words like “God, Gold, Greed, Gun, Gore, Gone” and “Force” rise like smoke, underscoring the brutal intersection of profit, racism, and power that drove the killings. The composition, with its splattered reds and winding serpentine forms, mirrors both the river’s flow and the violence that stained it.
More than a depiction of a single historical atrocity, this work is a meditation on how greed and systemic violence erased lives, leaving only fragments of memory. It reminds viewers that the gold rush frontier was not just a place of opportunity, but also of exclusion and bloodshed—where the pursuit of wealth justified unimaginable cruelty against marginalized communities.
This painting revisits the violent legacy of the 1887 Chinese Massacre Cove, where a group of Chinese gold miners were ambushed and slaughtered on the Snake River. The central figure—dressed in frontier garb, pistols blazing—stands astride a river of blood, its current littered with numbered queue (long hair braids) that echo the nameless and uncounted lives lost. Words like “God, Gold, Greed, Gun, Gore, Gone” and “Force” rise like smoke, underscoring the brutal intersection of profit, racism, and power that drove the killings. The composition, with its splattered reds and winding serpentine forms, mirrors both the river’s flow and the violence that stained it.
More than a depiction of a single historical atrocity, this work is a meditation on how greed and systemic violence erased lives, leaving only fragments of memory. It reminds viewers that the gold rush frontier was not just a place of opportunity, but also of exclusion and bloodshed—where the pursuit of wealth justified unimaginable cruelty against marginalized communities.
First Snow (2025)
Watercolor on Paper, 11"x14"
This painting captures my first encounter with a snowstorm after moving from Tampa to Washington, D.C.—a moment of both wonder and challenge. The lone figure trudges forward against the falling snow, footsteps marking a path through the whitened city. A scooter half-buried in drifts and cars coated in icy layers reveal how everyday life becomes transformed and slowed by the storm. For the artist, snow was not only a new subject to observe but also an artistic trial: how to render its softness, its shifting light, and its muffling presence on the world. The work embodies both the quiet resilience of adapting to a new environment and the excitement of translating that first snow into paint.
This painting captures my first encounter with a snowstorm after moving from Tampa to Washington, D.C.—a moment of both wonder and challenge. The lone figure trudges forward against the falling snow, footsteps marking a path through the whitened city. A scooter half-buried in drifts and cars coated in icy layers reveal how everyday life becomes transformed and slowed by the storm. For the artist, snow was not only a new subject to observe but also an artistic trial: how to render its softness, its shifting light, and its muffling presence on the world. The work embodies both the quiet resilience of adapting to a new environment and the excitement of translating that first snow into paint.
Mother & Child (2025)
Watercolor on Paper, 9"x12"
A quiet, tender moment between a mother and her child captured in soft washes and flowing brushwork. This painting seeks to express the wordless bond, the shared stillness, and the protection found in a mother’s gentle embrace. The minimal palette and empty space invite the viewer to pause—reflecting the simplicity and depth of love that needs no embellishment.
A quiet, tender moment between a mother and her child captured in soft washes and flowing brushwork. This painting seeks to express the wordless bond, the shared stillness, and the protection found in a mother’s gentle embrace. The minimal palette and empty space invite the viewer to pause—reflecting the simplicity and depth of love that needs no embellishment.
Boy with Blue Drink (Sold 2025)
Watercolor on Paper, 9"x12"
Cool sips, warmer vibes. 💙✨ Sometimes happiness is just a frozen drink and a moment in the sun.
A striking blend of warmth and cool contrast, this watercolor captures a fleeting moment with bold color and quiet emotion. The boy’s steady gaze and the electric blue drink create a magnetic pull, inviting us into a story just beyond the frame. 🎨✨
Cool sips, warmer vibes. 💙✨ Sometimes happiness is just a frozen drink and a moment in the sun.
A striking blend of warmth and cool contrast, this watercolor captures a fleeting moment with bold color and quiet emotion. The boy’s steady gaze and the electric blue drink create a magnetic pull, inviting us into a story just beyond the frame. 🎨✨
Sunset in Porto, Spain
(2025 Dom Luis Bridge)
Watercolor on Paper, 11"x14"
Porto’s bridges remind us: strength and beauty can stand together.
Porto’s bridges remind us: strength and beauty can stand together.
Meditation on Friendship and Shared Ritual (2025)
Watercolor on Paper, 11"x14"
This watercolor is a meditation on domestic intimacy and the rituals of togetherness. The kitchen, often described as the heart of the home, becomes here both a stage and a sanctuary. Two figures are depicted in mid-task—one chopping herbs with focused precision, the other turned away, absorbed in cooking. Their poses evoke a sense of quiet companionship, where activity itself becomes a form of connection.
The composition is structured around the deliberate use of negative space, which isolates the figures while simultaneously binding them into a shared environment. The stark whiteness of their skin, almost spectral, contrasts sharply with the saturated blues of their shirts and the vibrant tones of the food in the foreground. This contrast elevates the everyday scene into something more symbolic—where the figures become universal placeholders for all who have ever gathered around food and friendship.
Foreground objects—the pineapple, bowls, and onions—are rendered with a tactile richness that pushes them forward, while the background windows, patterned with greenery, suggest both repetition and rhythm. The result is a painting that oscillates between narrative intimacy and formal exploration, situating itself somewhere between realism and abstraction.
Ultimately, the work speaks to how ordinary spaces and tasks—preparing a meal, sharing a kitchen—hold profound meaning. It captures not only the visual presence of its subjects but also the invisible atmosphere of comfort, hospitality, and enduring friendship.
This watercolor is a meditation on domestic intimacy and the rituals of togetherness. The kitchen, often described as the heart of the home, becomes here both a stage and a sanctuary. Two figures are depicted in mid-task—one chopping herbs with focused precision, the other turned away, absorbed in cooking. Their poses evoke a sense of quiet companionship, where activity itself becomes a form of connection.
The composition is structured around the deliberate use of negative space, which isolates the figures while simultaneously binding them into a shared environment. The stark whiteness of their skin, almost spectral, contrasts sharply with the saturated blues of their shirts and the vibrant tones of the food in the foreground. This contrast elevates the everyday scene into something more symbolic—where the figures become universal placeholders for all who have ever gathered around food and friendship.
Foreground objects—the pineapple, bowls, and onions—are rendered with a tactile richness that pushes them forward, while the background windows, patterned with greenery, suggest both repetition and rhythm. The result is a painting that oscillates between narrative intimacy and formal exploration, situating itself somewhere between realism and abstraction.
Ultimately, the work speaks to how ordinary spaces and tasks—preparing a meal, sharing a kitchen—hold profound meaning. It captures not only the visual presence of its subjects but also the invisible atmosphere of comfort, hospitality, and enduring friendship.
Cotswolds UK (2025)
Watercolor on Paper, 11"x14"
Wandering the rolling hills of the Cotswolds, England—where sheep outnumber people and time slows down. 🐑💚 This watercolor captures an amazing time spent visiting a dear friend, taking in the gentle light, soft greens, and the comforting presence of woolly companions grazing nearby. There’s something grounding about walking unfamiliar paths with familiar faces. Grateful for the peace, the laughter, and the reminder that beauty often lives in the in-between moments.
Wandering the rolling hills of the Cotswolds, England—where sheep outnumber people and time slows down. 🐑💚 This watercolor captures an amazing time spent visiting a dear friend, taking in the gentle light, soft greens, and the comforting presence of woolly companions grazing nearby. There’s something grounding about walking unfamiliar paths with familiar faces. Grateful for the peace, the laughter, and the reminder that beauty often lives in the in-between moments.
Silenced (2025)
Watercolor on Paper, 9"x12"
Inspired by The Scream by Edvard Munch
In a room bursting with color and bloom, a lone figure sits muted—her mouth absent, her voice unseen. Surrounded by symbols of warmth and life, she becomes a silent presence, swallowed by a world that refuses to listen. Her green hair glows like a signal fire, yet no words escape.
This piece is about the quiet violence of silencing—the kind that doesn’t scream but seeps in through expectation, fear, or oppression. It’s a portrait of those who have been asked to stay quiet, behave, conform… until their screams are turned inward.
Like Munch’s figure on the bridge, this woman is mid-scream—but the world has erased her mouth.
Inspired by The Scream by Edvard Munch
In a room bursting with color and bloom, a lone figure sits muted—her mouth absent, her voice unseen. Surrounded by symbols of warmth and life, she becomes a silent presence, swallowed by a world that refuses to listen. Her green hair glows like a signal fire, yet no words escape.
This piece is about the quiet violence of silencing—the kind that doesn’t scream but seeps in through expectation, fear, or oppression. It’s a portrait of those who have been asked to stay quiet, behave, conform… until their screams are turned inward.
Like Munch’s figure on the bridge, this woman is mid-scream—but the world has erased her mouth.
Injustice/Greed For Gold (2025)
Watercolor on Paper, 11"x14"
This painting revisits the violent legacy of the 1887 Chinese Massacre Cove, where a group of Chinese gold miners were ambushed and slaughtered on the Snake River. The central figure—dressed in frontier garb, pistols blazing—stands astride a river of blood, its current littered with numbered queue (long hair braids) that echo the nameless and uncounted lives lost. Words like “God, Gold, Greed, Gun, Gore, Gone” and “Force” rise like smoke, underscoring the brutal intersection of profit, racism, and power that drove the killings. The composition, with its splattered reds and winding serpentine forms, mirrors both the river’s flow and the violence that stained it.
More than a depiction of a single historical atrocity, this work is a meditation on how greed and systemic violence erased lives, leaving only fragments of memory. It reminds viewers that the gold rush frontier was not just a place of opportunity, but also of exclusion and bloodshed—where the pursuit of wealth justified unimaginable cruelty against marginalized communities.
This painting revisits the violent legacy of the 1887 Chinese Massacre Cove, where a group of Chinese gold miners were ambushed and slaughtered on the Snake River. The central figure—dressed in frontier garb, pistols blazing—stands astride a river of blood, its current littered with numbered queue (long hair braids) that echo the nameless and uncounted lives lost. Words like “God, Gold, Greed, Gun, Gore, Gone” and “Force” rise like smoke, underscoring the brutal intersection of profit, racism, and power that drove the killings. The composition, with its splattered reds and winding serpentine forms, mirrors both the river’s flow and the violence that stained it.
More than a depiction of a single historical atrocity, this work is a meditation on how greed and systemic violence erased lives, leaving only fragments of memory. It reminds viewers that the gold rush frontier was not just a place of opportunity, but also of exclusion and bloodshed—where the pursuit of wealth justified unimaginable cruelty against marginalized communities.
First Snow (2025)
Watercolor on Paper, 11"x14"
This painting captures my first encounter with a snowstorm after moving from Tampa to Washington, D.C.—a moment of both wonder and challenge. The lone figure trudges forward against the falling snow, footsteps marking a path through the whitened city. A scooter half-buried in drifts and cars coated in icy layers reveal how everyday life becomes transformed and slowed by the storm. For the artist, snow was not only a new subject to observe but also an artistic trial: how to render its softness, its shifting light, and its muffling presence on the world. The work embodies both the quiet resilience of adapting to a new environment and the excitement of translating that first snow into paint.
This painting captures my first encounter with a snowstorm after moving from Tampa to Washington, D.C.—a moment of both wonder and challenge. The lone figure trudges forward against the falling snow, footsteps marking a path through the whitened city. A scooter half-buried in drifts and cars coated in icy layers reveal how everyday life becomes transformed and slowed by the storm. For the artist, snow was not only a new subject to observe but also an artistic trial: how to render its softness, its shifting light, and its muffling presence on the world. The work embodies both the quiet resilience of adapting to a new environment and the excitement of translating that first snow into paint.
Mother & Child (2025)
Watercolor on Paper, 9"x12"
A quiet, tender moment between a mother and her child captured in soft washes and flowing brushwork. This painting seeks to express the wordless bond, the shared stillness, and the protection found in a mother’s gentle embrace. The minimal palette and empty space invite the viewer to pause—reflecting the simplicity and depth of love that needs no embellishment.
A quiet, tender moment between a mother and her child captured in soft washes and flowing brushwork. This painting seeks to express the wordless bond, the shared stillness, and the protection found in a mother’s gentle embrace. The minimal palette and empty space invite the viewer to pause—reflecting the simplicity and depth of love that needs no embellishment.
Boy with Blue Drink (Sold 2025)
Watercolor on Paper, 9"x12"
Cool sips, warmer vibes. 💙✨ Sometimes happiness is just a frozen drink and a moment in the sun.
A striking blend of warmth and cool contrast, this watercolor captures a fleeting moment with bold color and quiet emotion. The boy’s steady gaze and the electric blue drink create a magnetic pull, inviting us into a story just beyond the frame. 🎨✨
Cool sips, warmer vibes. 💙✨ Sometimes happiness is just a frozen drink and a moment in the sun.
A striking blend of warmth and cool contrast, this watercolor captures a fleeting moment with bold color and quiet emotion. The boy’s steady gaze and the electric blue drink create a magnetic pull, inviting us into a story just beyond the frame. 🎨✨
Sunset in Porto, Spain
(2025 Dom Luis Bridge)
Watercolor on Paper, 11"x14"
Porto’s bridges remind us: strength and beauty can stand together.
Porto’s bridges remind us: strength and beauty can stand together.
Meditation on Friendship and Shared Ritual (2025)
Watercolor on Paper, 11"x14"
This watercolor is a meditation on domestic intimacy and the rituals of togetherness. The kitchen, often described as the heart of the home, becomes here both a stage and a sanctuary. Two figures are depicted in mid-task—one chopping herbs with focused precision, the other turned away, absorbed in cooking. Their poses evoke a sense of quiet companionship, where activity itself becomes a form of connection.
The composition is structured around the deliberate use of negative space, which isolates the figures while simultaneously binding them into a shared environment. The stark whiteness of their skin, almost spectral, contrasts sharply with the saturated blues of their shirts and the vibrant tones of the food in the foreground. This contrast elevates the everyday scene into something more symbolic—where the figures become universal placeholders for all who have ever gathered around food and friendship.
Foreground objects—the pineapple, bowls, and onions—are rendered with a tactile richness that pushes them forward, while the background windows, patterned with greenery, suggest both repetition and rhythm. The result is a painting that oscillates between narrative intimacy and formal exploration, situating itself somewhere between realism and abstraction.
Ultimately, the work speaks to how ordinary spaces and tasks—preparing a meal, sharing a kitchen—hold profound meaning. It captures not only the visual presence of its subjects but also the invisible atmosphere of comfort, hospitality, and enduring friendship.
This watercolor is a meditation on domestic intimacy and the rituals of togetherness. The kitchen, often described as the heart of the home, becomes here both a stage and a sanctuary. Two figures are depicted in mid-task—one chopping herbs with focused precision, the other turned away, absorbed in cooking. Their poses evoke a sense of quiet companionship, where activity itself becomes a form of connection.
The composition is structured around the deliberate use of negative space, which isolates the figures while simultaneously binding them into a shared environment. The stark whiteness of their skin, almost spectral, contrasts sharply with the saturated blues of their shirts and the vibrant tones of the food in the foreground. This contrast elevates the everyday scene into something more symbolic—where the figures become universal placeholders for all who have ever gathered around food and friendship.
Foreground objects—the pineapple, bowls, and onions—are rendered with a tactile richness that pushes them forward, while the background windows, patterned with greenery, suggest both repetition and rhythm. The result is a painting that oscillates between narrative intimacy and formal exploration, situating itself somewhere between realism and abstraction.
Ultimately, the work speaks to how ordinary spaces and tasks—preparing a meal, sharing a kitchen—hold profound meaning. It captures not only the visual presence of its subjects but also the invisible atmosphere of comfort, hospitality, and enduring friendship.
Cotswolds UK (2025)
Watercolor on Paper, 11"x14"
Wandering the rolling hills of the Cotswolds, England—where sheep outnumber people and time slows down. 🐑💚 This watercolor captures an amazing time spent visiting a dear friend, taking in the gentle light, soft greens, and the comforting presence of woolly companions grazing nearby. There’s something grounding about walking unfamiliar paths with familiar faces. Grateful for the peace, the laughter, and the reminder that beauty often lives in the in-between moments.
Wandering the rolling hills of the Cotswolds, England—where sheep outnumber people and time slows down. 🐑💚 This watercolor captures an amazing time spent visiting a dear friend, taking in the gentle light, soft greens, and the comforting presence of woolly companions grazing nearby. There’s something grounding about walking unfamiliar paths with familiar faces. Grateful for the peace, the laughter, and the reminder that beauty often lives in the in-between moments.
Silenced (2025)
Watercolor on Paper, 9"x12"
Inspired by The Scream by Edvard Munch
In a room bursting with color and bloom, a lone figure sits muted—her mouth absent, her voice unseen. Surrounded by symbols of warmth and life, she becomes a silent presence, swallowed by a world that refuses to listen. Her green hair glows like a signal fire, yet no words escape.
This piece is about the quiet violence of silencing—the kind that doesn’t scream but seeps in through expectation, fear, or oppression. It’s a portrait of those who have been asked to stay quiet, behave, conform… until their screams are turned inward.
Like Munch’s figure on the bridge, this woman is mid-scream—but the world has erased her mouth.
Inspired by The Scream by Edvard Munch
In a room bursting with color and bloom, a lone figure sits muted—her mouth absent, her voice unseen. Surrounded by symbols of warmth and life, she becomes a silent presence, swallowed by a world that refuses to listen. Her green hair glows like a signal fire, yet no words escape.
This piece is about the quiet violence of silencing—the kind that doesn’t scream but seeps in through expectation, fear, or oppression. It’s a portrait of those who have been asked to stay quiet, behave, conform… until their screams are turned inward.
Like Munch’s figure on the bridge, this woman is mid-scream—but the world has erased her mouth.
Injustice/Greed For Gold (2025)
Watercolor on Paper, 11"x14"
This painting revisits the violent legacy of the 1887 Chinese Massacre Cove, where a group of Chinese gold miners were ambushed and slaughtered on the Snake River. The central figure—dressed in frontier garb, pistols blazing—stands astride a river of blood, its current littered with numbered queue (long hair braids) that echo the nameless and uncounted lives lost. Words like “God, Gold, Greed, Gun, Gore, Gone” and “Force” rise like smoke, underscoring the brutal intersection of profit, racism, and power that drove the killings. The composition, with its splattered reds and winding serpentine forms, mirrors both the river’s flow and the violence that stained it.
More than a depiction of a single historical atrocity, this work is a meditation on how greed and systemic violence erased lives, leaving only fragments of memory. It reminds viewers that the gold rush frontier was not just a place of opportunity, but also of exclusion and bloodshed—where the pursuit of wealth justified unimaginable cruelty against marginalized communities.
This painting revisits the violent legacy of the 1887 Chinese Massacre Cove, where a group of Chinese gold miners were ambushed and slaughtered on the Snake River. The central figure—dressed in frontier garb, pistols blazing—stands astride a river of blood, its current littered with numbered queue (long hair braids) that echo the nameless and uncounted lives lost. Words like “God, Gold, Greed, Gun, Gore, Gone” and “Force” rise like smoke, underscoring the brutal intersection of profit, racism, and power that drove the killings. The composition, with its splattered reds and winding serpentine forms, mirrors both the river’s flow and the violence that stained it.
More than a depiction of a single historical atrocity, this work is a meditation on how greed and systemic violence erased lives, leaving only fragments of memory. It reminds viewers that the gold rush frontier was not just a place of opportunity, but also of exclusion and bloodshed—where the pursuit of wealth justified unimaginable cruelty against marginalized communities.
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