Spring and the Art of Becoming
There's something about spring that feels like a reset.
The air softens. Light lingers a little longer. Colors return, slowly at first, then all at once.
For me, that shift has always been more than meteorological. It moves through the studio. It changes what I reach for, what I want to make, what feels urgent and alive.
Spring doesn't just change the light outside. It changes everything.
Why Spring Matters to My Practice
As an artist working primarily in mixed media, the seasons are not background noise. They're material. The way light hits a resin surface in April is categorically different from January. The way gold leaf reads against an impasto ground shifts when the room is warmer, when the windows are open, when there's a certain quality of afternoon coming through.
Spring invites me to reach outward. Winter work tends toward introspection, restraint, a kind of quietness I need. But by March, I feel the urge to push into something more expansive. More saturated. More alive.
That restlessness is usually how a new body of work begins.
Mystic Seduction: A Spring Offering
The works in Mystic Seduction, which opened May 2nd at MASH Gallery, came out of exactly that kind of seasonal turning. After months of building in the studio, layering and excavating, testing what the materials wanted to do, spring felt like the right moment to let them breathe in public.
This exhibition is the most personal body of work I've made in some time. The pieces move through themes of desire, transformation, and the pull between the seen and the unseen. Resin and gold leaf catch light differently hour by hour. Impasto surfaces hold shadow in the morning and release it by afternoon.
There's something appropriate about showing this work in spring. The paintings are, at their core, about becoming. And spring is the season most committed to that idea.
The Seasonal Logic of Making
I've come to understand my own practice as cyclical in the way seasons are cyclical. Not repetitive, but rhythmic. Each year brings a different inflection on recurring themes.
The Butterfly Series has always been about transformation. The Water Series about flux and surface and what lies underneath. The Rose and Figurative work return again and again to the body, the feminine, the interior life made visible.
Spring is when those threads tend to converge. When I feel most willing to let something fully emerge rather than hold it back.
If you've followed my work for a while, you may notice that the pieces I release in spring tend to carry a particular quality of openness. That isn't accidental.
An Invitation
Mystic Seduction is on view now at MASH Gallery, 812 N La Cienega Blvd, West Hollywood.
If you're in Los Angeles this season, I'd love for you to come see the work in person. Paintings made with resin and gold leaf and impasto relief don't translate fully to a screen. They need the light of a room, the presence of a body moving past them, to do what they're meant to do.
Spring is a good time for that kind of encounter.
It's a season that asks us to show up, pay attention, and stay open to what might be becoming.
