About Me

The Short

I am an American-born visual artist based in the Netherlands. My work moves between painting, performance, and experimental media, and explores memory, altered states, perception, and beauty. Trained at Georgia State University where I earned a BFA in Studio Art and a BA in Art History, I previously studied at MassArt and spent several years in New England developing my studio practice. I have exhibited in Atlanta and curated projects linking art and neuroscience.

The Long

I am an American-born visual artist, currently based in the Netherlands. My more conceptual work explores memories, altered states, perception and beauty through painting, performance, and experimental media. And sometimes, I just like to paint the things I notice in front of me. I love the challenge of art and personal growth that its pursuit engenders - Ars longa! Importantly, I do not believe that there are inferior and superior means or motives in the pursuit of art.

I began my adult path as an artist, as many do, by attending art school for completely the wrong thing. I first enrolled at Massachusetts College of Art & Design in Boston to study industrial design, that is, the art of conceiving, designing and developing objects for people to use and enjoy. The model making and technical drawing involved in the field of industrial design amazed me, and more importantly, it was the major of my recently graduated older sister, who was (and still is) a great positive influence in my life.

However, my interest in industrial design was soon stolen away by the bohemian revelry of MassArt's SIM program - a multimedia performance & installation-based major that easily ranks among the most difficult majors to explain to your parents. Every critique session was like a microcosmic Cirque du Soleil, and I was immediately enamored with the atmosphere.

But, I've always felt I have a sort of split mind. Some spooky people have told me it is because of a multiple-Libra alignment, but I suspect something slightly more clinical is at the root. In any case, I felt a need for balance between the two halves of my self. At the same time as I was enchanted by the apparent freedom of those young bohèmes living at the cutting edge, I was also conflicted.

So long as my work didn't look, sound, or feel too much like any of the more traditional arts, I could move in almost any creative direction. There was ample support and equipment available (assuming you could answer the basement troll's riddles unerringly) and my peers and I produced some compelling, though at times strange or even misguided, works in the college art scene. Experimental sound, video sculpture, performance and "new media" all felt cerebral and worthwhile.

Yet the glitter of novelty dimmed for me. After all, Nam June Paik, in what seemed like ancient history to me, had already said everything that I had wanted to say with the aesthetics of the cathode ray tube. Deep inside I had creative sparks originally kindled by fiery explosions of autumn foliage, the cool, low rays of the winter sun, and quiet forests softly pierced by bird song. These were the flittering memories of my New England childhood. In short, my creative spirit was just as driven by beauty, memory, and stillness, as it was by the exciting conflict that the contemporary art establishment inflicted at it's knife's edge.

In the last part of my final semester, I produced half-hearted installations with buried televisions and broken electronics which the professors glowed over. I felt like a con. When I presented musical pieces meant to share peace and beauty, I was told by the presiding professor to consider changing schools. In a way, I ended up taking that advice.

I left MassArt with the blessings of some and the curses of a few. I wandered a bit, and lived my life for a bit in a miserable, leaky Boston apartment. I did some experiments with 'galvanic etching' of brass and copper, learned to code C++, and explored the grey shores of the Mystic in search of copper nails and ship spikes. I really had no direction whatsoever, but I realized something about myself: I wanted to be able to draw and paint, and at that moment, I could not.

The traditional, well-trodden paths of fine art, which have been travelled by those in the west since our written history began, were where I'd find, at least in part, my life's pursuit. Discovering no immediate outlet, I took to studying and practicing independently with as much discipline as I could possibly arouse. Nature, I decided, is the true teacher, but to play it safe I sought out and hoarded every good text I could obtain on the matter.

Eventually, I returned to New Hampshire where I would live and study in near isolation for some years. Despite the hardness of winter there, the complete and transitory beauty of that place inspired me everyday; beauty I am now discovering in a different form in the light and forms of the Dutch countryside.

In 2018, I relocated to Atlanta, Georgia, where my practice deepened within a lively creative community. I enrolled at Georgia State University and earned dual degrees summa cum laude, a BFA in Studio Art (Drawing, Painting, and Printmaking) and a BA in Art History, through the Ernest G. Welch School of Art and Design. My academic work bridged fine art studio work, with experimentation with art historical research. By now, the intensity of the art establishment had softened on the ideas of representation and beauty, and, more importantly, I was now an adult who knew what he wanted to do with himself.

Between 2020 and 2025, I exhibited around the city, including at the Welch School of Art and Design, MintATL, and The Supermarket. My collaborative and performative projects, such as Mirror, Mirror…, Levitation Ceremony, and Mysterium, integrated art, sound, psychology and shamanism to examine how self-awareness and illusion intersect. I also co-curated several exhibitions connecting art and neuroscience, including Mind’s Eye and Neural Impressions, and contributed to publications such as Underground Journal and Grey Matters.

My work received recognition through awards including the Mark Phillips Scholarship in Art and Design, the Vera Jernigan Green Memorial Art Award. I have presented my art and writing at conferences and symposia, where I continue to bridge creative and scientific approaches to creative and visual understanding.

Beyond my own practice, I have worked to support artists and communities through digital archiving, arts administration, and civic engagement. As Chairman of the Doraville Art Commission, I helped shape local cultural initiatives and promote accessibility in the arts.

In 2025 I relocated to the Netherlands. I continue to work independently and consult for a range of creative clients. My recent projects investigate mental health, memory, drawing on neuroscience, dream research, and the subtle structures of perception. And of course, the beauty of the landscape, the people, and the life that surrounds me still regularly makes it way into my work.