Living Systems · 14 works
A field guide to engineered pareidolia.
I make paintings about inheritance: about what a body carries when it is no longer able to carry a child. The orca taught me how to hold this.
She does not recede. She becomes the center.Continue reading the statement
Eye Sea All I
2026 · Acrylic, epoxy resin, 23.75k gold leaf, mesh, turned spheres on prepared Belgian linen
*Eye Sea All I* is faceless self-portrait. A 14-inch encaustic dome emerges from the linen as collective eye · "I see all · we all see." The body becomes optical device. The face is absent but the gaze multiplies · spheres as eyes scattered across the field, resin as eye moisture, gold at the edge as threshold between who looks and who is looked at. The work carries the literal weight of the archive · resin layers poured over weeks, gold applied with bole and water, hand-stitched thread. Not illustration of the body · the body understood as distributed living system.
A matriarch is a position in a system · not a particular set of features.
Original, one of one. Ships with a signed Certificate of Authenticity and studio provenance records.
Portrait
The keystone self-portraits: a face that will not resolve.
Faceless Self-Portrait
2026 · Acrylic, epoxy resin, 23.75k gold leaf, radiation thermoplastic mesh, hand-stitched thread on prepared Belgian linen
*Faceless Self-Portrait* integrates a perforated thermoplastic mesh · clinical 2.4 mm gauge · reoriented as structural armature, not as testimony. The mesh bands remain visible beneath the resin, bonded to the linen and painted in cobalt and ultramarine to integrate them into the surface without erasing them. The scar remains visible as a formal decision. This is not trauma on display · it is survival encoded into the material. The face is absent: the mesh describes the facial contour with greater precision than any image. This is the keystone piece of *Living Systems* · the one that sustains the logic of the entire series.
Where a face would resolve · a single inflection of gold.
Original, one of one. Ships with a signed Certificate of Authenticity and studio provenance records.
Origin Mass I
2026 · Acrylic, epoxy resin, 23.75k gold leaf on prepared Belgian linen
*Origin Mass I* is the field from which everything else emerges. Resin poured in successive layers until creating optical depth · the eye reads the blue as contained water, as sea living inside the migrant body. The surface is not flat · it is geological. Layers of cobalt and ultramarine under layers of transparent resin, 23.75k gold at the edge signing the threshold. No figure · there is mass. Matter remembering what the image forgets. First work of the *Origin* subseries within *Living Systems* · founds the vocabulary later translated to *Self-Portraits* and *Vuelta a Quisqueya*.
The field from which everything else emerges.
Original, one of one. Ships with a signed Certificate of Authenticity and studio provenance records.
Origin
Five motions: inheritance, myth, stone, drift, release.
Inheritance
2026 · Acrylic, epoxy resin, 23.75k gold leaf on prepared Belgian linen
Sixteen by twenty inches. The size of a small mirror · the one hung at a daughter's height. *Inheritance* is the intimate work of the series: domestic scale, material density identical to the large pieces. What is inherited here is not the style or the gesture · it is the decision that the blue of Bahoruco continues traveling in the body of another generation. Four generations of women in one house. This work has that size deliberately. It fits in any room.
A small mirror held at a daughter’s height.
Original, one of one. Ships with a signed Certificate of Authenticity and studio provenance records.
Ciguapa
2026 · en proceso · in progress · Sculpted head (epoxy + resin), cobalt/ultramarine paint, 23.75k gold leaf and filament, hand-stitched thread, cerulean polymer spheres, two larimar cabochons (certified Sierra de Bahoruco, Dominican Republic) embedded in epoxy resin, clinical radiation thermoplastic mesh, clay impression of the artist's daughter's footprints on prepared Belgian linen
*Ciguapa* is the first anchor work of *Vuelta a Quisqueya* · the piece that encodes the Caribbean body as myth. La Ciguapa is the female Antillean figure with inverted feet · her tracks confuse the pursuer. Folklore that will not be caught. The dimensional cranium emerges from the cerulean field. One eye closed · one eye open. The double gaze looking inward and outward at the same time · diasporic body inhabiting two places without splitting. Filaments of gold emerge from the cranium · thought made matter. A clinical radiation thermoplastic mesh remains visible beneath the resin as armature of the face · flight carries structure, survival becomes form. In the lower-left quadrant, beside the neck, two larimar cabochons from the Dominican Republic sit embedded in resin atop the clay impression of my daughter's footprints. Four presences concentrated in one zone of the linen · the geology of Quisqueya in two sizes (mother · mineral daughter), the body of the next generation, and my hand as mediator between the three times. The work operates by centrifugal force · pushes the viewer outward, sends them searching. It is the piece that opens the cosmology. Conceptual pair to *Piedra de Bahoruco* · together they do not decorate the Caribbean, they argue it.
Folklore that will not be caught.
Original, one of one. Ships with a signed Certificate of Authenticity and studio provenance records.
Las piedras de Bahoruco
2024 · Polymer, 24k gold leaf on canvas
*Las piedras de Bahoruco* proposes identity as a landscape of inherited information. Each blue stone, inspired by larimar · the stone found only in the Dominican Republic · is a cell of memory, a story transmitted, a trait that remains. From the center emerges a form that is island, coral, body, and vessel. It does not represent a place, but the living structure of inheritance: something formed under pressure, in silence, and revealed only with time. *Las piedras de Bahoruco* honors the land that formed me and turns its geological rarity into a contemporary language of belonging.
Larimar, memory and inheritance as living systems.
Original, one of one. Ships with a signed Certificate of Authenticity and studio provenance records.
Origin / Drift I
2026 · Mixed media on canvas · resin, polymer spheres, gold leaf
Drift: the random walk of frequencies across generations. The cluster reconfigures itself across distance, still carrying the memory of where it came from but moving into its own orbit. Transition, not separation.
The random walk of inherited frequencies.
Original, one of one. Ships with a signed Certificate of Authenticity and studio provenance records.
Origin / Release I
2026 · Mixed media on canvas · resin, polymer spheres, gold leaf
Release: the loss of traits no longer selected for. Small resin spheres move across a pale field like traces, satellites, breaths, or memories. This is separation as continuity, not rupture.
What the line no longer needs · released.
Original, one of one. Ships with a signed Certificate of Authenticity and studio provenance records.
Pareidolia
A face in the field, and the reef as living architecture.
Pareidolia in Blue
2026 · Mixed media on canvas · resin, discs, gold leaf
The largest painting in the series. Pareidolia: the cognitive habit by which the brain organizes ambiguous fields into recognizable figures. The painting proposes that the matriline operates by the same mechanism at the scale of generations: a tendency to recognize, against the noise of inheritance, the traits that have already worked. The image changes as you move.
The mind assembles the field · the matriline does the same.
Original, one of one. Ships with a signed Certificate of Authenticity and studio provenance records.
Corales
2026 · Mixed media on canvas · resin, textured spheres, pigment
Reef pattern. Coral, teal, violet: the chromatic field at its most aquatic. Forms emerge from the dense surface like reef life seen through water. Private collection, 2026.
Reef pattern · private collection 2026.
Thread
An earlier voice, then black ground and gold thread.
Birds of a Feather
2020 · Acrylic and mixed media on canvas
An earlier voice in the cerulean language. The largest canvas in the inventory, painted before Living Systems formalized its vocabulary, but already speaking it. Dense chromatic biomorphic fields where every surface is occupied, the same maximalism that would later distill into restraint.
An earlier voice in the cerulean language.
Original, one of one. Ships with a signed Certificate of Authenticity and studio provenance records.
Thread on Black I
2026 · Mixed media on black canvas · gold leaf, thread, resin
The circle returned in thread. Colorful yarn wound by hand into circle segments on a deep black ground, each zone a different colour, each edge fraying into the black in a soft, living fringe. Thread on top of the gold: a second line of inheritance. The black is not background; it is the shadow from which every colour emerges.
Thread on top of the gold · a second line of inheritance.
Original, one of one. Ships with a signed Certificate of Authenticity and studio provenance records.
Thread on Black II
2026 · Mixed media on black canvas · gold leaf, thread, resin, polymer spheres
The proposition condensed to its smallest legible form. Smaller, denser, the circles overlapping like a quiet planetarium. Two tassels hang below like a held breath.
The proposition condensed to its smallest legible form.
Original, one of one. Ships with a signed Certificate of Authenticity and studio provenance records.
Reserve
The origin object, held in studio.
Genesis
2026 · Mixed media, hand-carved spheres, 24k gold leaf border, gold filament, resin on canvas
The origin object. A small, dense field of hand-carved spheres bound by gold filament and sealed under resin, edged in twenty-four karat gold leaf. Held in studio as the first Living Systems work, by appointment only.
The first cell · the first system · the instant biology becomes biography.
The painting is one half of the story.
Read the statement that holds this work