Enclosed by Nothingness
2022
Encaustic and colored pencil on mulberry paper
72 x 39 inches
Ash Plume 7
2022
Encaustic and colored pencil on paper
76 x 44 inches
Plates
2015 - 2022
Encaustic
10 x 17 x 8 inches
Plates
2015 - 2022
Encaustic
10 x 17 x 8 inches
Plates
2015 - 2022
Encaustic
10 x 17 x 8 inches
Nugget
2022
Encaustic
4 x 1.75 x 1.25 inches
Talking to Rocks 27
2021
Encaustic on paper
35.5 x 25.5
Talking to Rocks 3
2021
Encaustic on paper
35.5 x 25.5
Talking to Rocks 1
2021
Encaustic on paper
35.5 x 25.5
Garden
2019 - 2021
Pigmented beeswax
variable (40 x 60 overall)
Garden
2019 - 2021
Garden
2019 - 2021
Out of the Stillness
2022
Encaustic and colored pencil on mulberry paper
72 x 39 inches
Rabbit Island Artist Residency
2021
Deep Hole No. 6
2021
Sumi ink on mulberry paper
35.5 x 25.5
Rail Trail Stream (Under the Bridge) No. 6
2021
Sumi ink on mulberry paper
35.5 x 25.5
Laura Moriarty: Resurfacing at the Hunterdon Art Museum
2021/22
Jade Tableau
2019
Pigmented beeswax, black sand, powdered charcoal, metallic pigment
Variable

A grouping of 7 sculptural paintings

Rough Cut
2020
Pigmented beeswax, black sand, powdered charcoal
3.75 x 9 x 5.5
Implement 3
2020
Pigmented beeswax, black sand
7 x 4.5 x 3 inches
implement 4
2020
Pigmented beeswax
6x 5 x 4 inches
Ex Uno Plures, 3
2021
Encaustic on mulberry paper
35.5 x 25.5
Ex Uno Plures, 10
2021
Encaustic on mulberry paper
35.5 x 25.5
Tableau, detail
Tableau
2017- 2019
Pigmented beeswax, black sand, powdered charcoal, metallic pigment
Variable

A grouping of 12 sculptural paintings

Churches 4, affixed
Churches 4, affixed
Baer Art Center Residency, Iceland
2016
Churches, 1
2016
Pigmented beeswax, black sand, powdered charcoal, corroded metal
13 x 8 x 11
Pingo
2017
Pigmented beeswax, black sand, powdered charcoal
5.5 x 15.5 x 10
Table of Contents
2012
artists' book
7 x 9

You can purchase copies of Table of Contents under the 'Shop' tab.

Table of Contents, detail
Skyscraper
2020
Pigmented beeswax, powdered charcoal
14 x 8.5 x 4.75 inches


As if dug from the center of the earth, my pieces often resemble scientific models or artifacts whose strata and embedded fragments reveal a history, just as the layers of the earth tell a story of climate shifts, planetary events and cataclysmic disruptions.  In my work, layers of color form the strata of a methodology in which the immediacy of the hand can translate a sense of deep time, marking new eras, delineating ages, and trapping stories that are part of the time/space continuum.