I was born and raised in Anchorage, Alaska and am part Yupik/Eskimo & Gwitchen Native Alaskan. I studied Fine Arts at the University of Alaska Anchorage (UAA) until 2010 when I moved to Richmond, Virginia. I've recently moved to Dallas, Texas where I'm currently creating new works.
Art has always been a passion of mine, and is something I have always tried to learn and grow in. I can't imagine my life without some element of drawing or painting in it. I love to draw my subjects in a 'dancerly' form, gracefully moving around the page.
My favorite medium to work in is charcoal. I love how black it is and that it's a matte medium. I have, however, started doing more watercolor painting. It's a very different experience than drawing with charcoal.
In 2018 I want to work in quarterly series. This will allow me to create a collection of work while being able to diversify my portfolio. You can find my current collections organized in my Original Art page. You can also follow me on Instagram to watch all of my works-in-progress and get a sneak-peak at what's to come.
About my artwork
I work primarily in charcoal and watercolors. The female portrait is a constant theme in my work, and I consistently pair those portraits with more masculine and sometimes morbid objects. I like to map out my drawing by working off a grid or sketching out the design on newsprint, which I'll then transfer to my paper.
Because I mix watercolor and charcoal, I use Arches 600 lb. cold-press watercolor paper. The paper is made to absorb the water from the paint, and the texture is perfect for gripping the charcoal. I also prefer paper with a ragged edge. Ideally, these pieces will be displayed in a float frame so that the edges of the paper can be seen instead of hidden behind a mat.
When mixing watercolor and charcoal in a composition, I always start with the watercolor first. The reason for this is that the charcoal will get ruined if it comes in contact with water; it will also get into the paint brush and is extremely difficult to clean out of the bristles. The easiest way to avoid such a mess is to work the watercolor to completion before starting on the charcoal elements of the piece. Once I've gotten the charcoal completed, I may go back and darken my shadows in the watercolor portions. The black from the charcoal will reveal what areas of the watercolor need to be worked more. Once done, I'll mask off the watercolor portions and spray down the charcoal elements very heavily with permanent fixative. This helps to keep the charcoal from smudging or moving around the page.
If you have any questions about me or my process, please feel free to contact me in the contact link at the top of the page. I'd love to hear from you and answer any questions you may have.