My work draws on vivid memories of people and beaches that have since washed away.

One memory comes from a fishing village two days' drive north of Rio. At dusk, everyone gathered in the praça. Before 8 PM, the mayor climbed a ladder to unlock the town's only TV so we could watch the novela das 8 together in the square. That single light cutting through the dusk is etched in my memory, defining my use of contrast, color, and the vibrant patterns and hues that saturated Brazilian TV.

For the past decade, my solitary studio practice has been driven by the flow of water and wave forms: how water moves through the ocean, how a swell shoals into a crest, how it breaks in predictable or erratic ways, and finally, how it runs up on the beach. More than a distant observation, this is a translated memory. Water defined my upbringing. I grew up immersed in the ocean, currents, and waves. It was a life where the boundary between land and sea was constantly blurred.

This framework now supports my intense practice of telling fluid, visual stories about restless oceans, people, and vistas (both inside and out), framing them through the portals of glowing windows. I seek to capture the texture of these memories by combining different media.  I use translucent acrylic skin with images extracted from digitally manipulated vintage postcards of Rio to capture the intense sunlight diffusing through dense, salty air.  Another piece utilizes pigment reclaimed from decanting water from rusted pipes. After the sediment settles, I blend the iron oxide with the vibrant colors of pastels or add found objects, remnants of my daily life; these anchor the work, forcing the fluid memories to contend with the sharp, tactile now.  Building my surfaces through accumulation, I sometimes leave visible pentimenti. These act as memories suspended in the paint, like debris in the tide. In other pieces, the backgrounds become deeper and richer with the addition of book pages. I also use reclaimed packaging; the raised flaps bring tactility and physical dimension to the painted palettes, adding form to content. Much like when I worked in a laboratory, my application of medium and paint forces the images and textures to interact, creating not only synergy or symbiosis but also conflict. Like a parasite, one image rides along, sometimes to the detriment of the host, subverting a harmonious composition. Through this tension, I simply draw these memories to fulfill a longing.