Every surface begins with unbleached Belgian linen sized with rabbit-skin glue and grounded in lead-free oil primer. Canvases cure for several months before receiving paint, establishing a structural foundation engineered to resist humidity fluctuations and structural sagging over centuries of domestic or institutional display.
Pigments are milled by hand on polished granite slabs using cold-pressed Swedish walnut oil and washed earth oxides. Layering unfolds through glazing stages that build optical depth through translucency rather than surface texture alone, maintaining precise chromatic integrity across shifting morning and evening ambient illumination.
Raw earth and walnut oils
Color formulation avoids commercial tube paints in favor of pure mined earths, bone char, and raw sienna gathered from regional quarries. Grinding individual batches guarantees maximum pigment saturation and avoids synthetic leveling agents that weaken oil films over generations.
Brushes of unbleached hog bristle and soft badger hair deposit pigment in deliberate passages, preserving the physical memory of draughtsmanship across raw weave textiles.
Institutional archive and presentations
London / Mercer Works
Basel / Forum Zeichnung
New York / Atelier Survey
Solo presentation of fourteen large-format monochrome oil studies on raw linen, focused on atmospheric light and architectural mass along the Thames estuary.
Curated survey of observational ink wash works on archival handmade rag paper, cataloged in a limited letterpress monograph with full plate reproduction.
Selected suite of studio oils acquired into permanent private foundations and architectural commissions across the Northeast and California.