My shadow box paintings occupy a space between painting, object, and assemblage. I work with found materials not as illustrations or artifacts, but as physical fragments that carry histories of use, displacement, and transformation. Removed from their original contexts, these ordinary remnants become active elements within the paintings, inviting new associations and meanings.

Oil and cold wax are layered, scraped, embedded, and obscured across the surface and around the objects. The shallow architecture of the shadow box creates a tension between containment and exposure, allowing paint, material, light, and shadow to become part of the composition. Objects may be partially buried or revealed, their identities shifting as they move between recognition and abstraction.

I am interested in the ways materials accumulate meaning through time. Wear, damage, residue, and imperfection become visual language—evidence of touch, use, loss, and change. The process of building and disrupting the surface mirrors this accumulation, with each layer simultaneously concealing and revealing what came before.

These works resist a singular narrative. Instead, they function as fragments—open-ended spaces where material histories and personal associations intersect. By bringing discarded or overlooked objects into conversation with abstraction, I explore how meaning is constructed, preserved, altered, and ultimately reimagined.