A lot of this work begins with walking the shoreline of Mobile Bay and staring at the ground for an unreasonable amount of time.

I look for pottery fragments, strange textures, old glass, tiny details in the sand — anything that feels like it has a story attached to it. I usually leave with wet shoes, a pocket full of objects, and far more questions than answers.

Every once in a while, I find a fragment that immediately feels important. Those are the ones that eventually become paintings.

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.

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.