Her work is rooted in a close and ongoing relationship with landscape, both observed and remembered. Time spent in Provincetown, especially during her artist residency, deepened this connection and allowed her to move between what is seen and what is felt. The horizon, shifting light, and quiet transitions between land and water continue to shape how she approaches painting.
She received her formal training at the Rhode Island School of Design, where she developed a foundation in painting grounded in observation, material sensitivity, and openness to exploration. That experience continues to inform her practice, not as a fixed method, but as a way of seeing that is attentive, responsive, and willing to evolve.
In the studio, she works through layers, allowing forms to emerge and dissolve. Her paintings often begin in reference to the landscape but gradually shift toward something more internal, an atmosphere or memory rather than a fixed place. She is interested in the space between representation and abstraction, where the image feels familiar but not fully defined.
Painting, for her, is a process of returning, of looking again, of staying with something long enough for it to change. It is in this slow unfolding that the work begins to hold its own quiet presence.