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A lot of this work begins with walking the shoreline of Mobile Bay.

Years of walking these shorelines has taught me where fragments tend to emerge. Wind, tides, storms, and erosion all play a role.

Every once in a while, the conditions are right and a fragment appears that immediately feels important. Those are the ones that eventually become paintings.

ARCHIVE

Before a fragment ever meets a paintbrush, it is documented.

I record where it was recovered, its size, color and any other notable characteristics. This part of the process preserves a record of the object before it becomes something else.

The painting may change how the piece is seen, but the archive keeps a record of what was there first.

Painting on these pieces feels a little like pointing out shapes in the clouds.

Sometimes I know exactly what I want to paint the moment I hold a shard.

Other times, the piece itself decides—its curve, its color, the way it’s been worn by water.

Paint

FRAME

Framing is an act of elevation.

By isolating and supporting each fragment, the frame draws attention to its individual form, surface, and story.

The intention remains the same for each piece:

to honor each shard as a singular artifact—worthy of care, focus, and preservation.