About

(b)1983 Wilmington, Delaware

Education
2005 Boston University: BA English, BFA Painting

Fellowships
2004 Yale University Ellen Battell Stoeckel Fellowship: Norfolk, CT
2000 Joan Woodruff Pirozzolo Fellowship: Bolton, MA

Group Shows
2010 Feeding Ghosts: Kitsch Gallery, San Francisco, CA 2008 Enormous Tiny Show III: Nahcotta, Portsmouth, NH
2007 Enormous Tiny Show II: Nahcotta, Portsmouth, NH
2007 Bowery Gallery Juried Show: Chelsea, NY
2004 Sherman Gallery, Keepsake: Boston University
2004 Francis N. Roddy Competition: Concord Art Association
2004 A Night of Sight and Sound: Boston University

Solo Shows
2008 Brookline Arts Center: Brookline, MA
2008 The Guild Gallery: Brookline, MA
2008 Bromfield Gallery: Boston, MA
2003 C.C. Lowell Gallery: Worcester, MA

Publication and Press
2008 Boston Common Magazine
2008 Boston Metro

Education
2005 Boston University: BA English, BFA Painting

Employment
August 2010—Present Day: Editorial, Marketing, and Web Assistant
Office of Career Services, Faculty of Arts and Sciences, Harvard University

October 2009—January 2010: Freelance Copy Editor
Global Entrepreneurship Monitor, Babson College

September 2007—July 2010: Information Specialist
The Art Institute of Boston at Lesley University, Boston

November 2006—September 2007: Visitor Services Assistant
Institute of Contemporary Art, Boston

September 2005—September 2006: Associate Media Producer
Custom Media Division, Pearson Education, Boston

I once created a flipbook melding the faces of two friends: the first fell out of focus into a featureless haze that refocused as the second. My paintings draw from such photographs. Blurry portraits of friends, mute and malleable, respond to the nostalgic memories we hold for those we have lost and the longing they inspire.

As I work with pastel on coarse watercolor paper, the pigment is heavily layered. Through a prolonged process of addition and subtraction, I attempt to lend a living breath, to produce portraits that are not static, but wavering. The pastel medium, essentially dust, speaks to impermanence; figures emerge and recede, both elusive and confrontational. Some are veiled with a layer of mark making. The red lines scoring “Jasna” could read as a text or a numbering of days – repetition that plays with the atmospheric space, pushing the portrait further from the viewer while flattening the overall image. There, the women depicted remain in limbo: on the edge of becoming or the verge of disappearing altogether.


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