2024 series (that I never shared)

I jumped back into painting because I needed a hands-on outlet for my creativity. A place to just play. When I was younger, I was drawn to specific styles and specific artists: Rauschenberg, Pollock, Hirst. Their techniques fascinated me, and I couldn't resist learning them myself. As a result, a lot of my work was rooted in that foundation.

But like my 2019 series, I kept circling back to the same familiar style. I loved it, it made me happy, but that year I felt the itch to shake things up. I wanted to try something I had never attempted before, something completely new, where every stroke felt more intentional and there was always something left to learn.

Enter: acrylic pouring.

The technique involved fluid acrylics poured directly onto a canvas, creating abstract effects that were completely unpredictable and endlessly unique. A different kaleidoscope on every pour. The process itself was mesmerizing, almost meditative, and I completely understood why people fell down this rabbit hole. I started small: three tiny canvases, three distinct color palettes, just getting a feel for it. The results stopped me in my tracks. Even as the paint dried, it kept shifting, mixing, settling into forms I never planned for. That part, I did not expect, and it ended up being my favorite part of all.