Unreal Engine, 2025.
This scene was created using Unreal Engine 5's Terrain tools. I modeled the grass and violets in Maya. The density and base color of the foliage is dependent on the terrain texture, i.e. grass is less dense on dirt patches. There is a wind effect on the foliage using world position offset in the material and vertex color on the mesh. This also includes a shifting noise overlay in the diffuse channel to emphasize the wind. Lastly, I added a Kuwahara filter to the scene to add a painterly effect.
Digital painting, 2024.
For this piece, I was inspired to create a room as an homage to David Cronenberg, my favorite director. I decided to create a scene implying a figure unseen had experienced some sort of bloody transformation as a reference to the body horror work Cronenberg is known for. The pictures and objects on the wall are references to his filmography, including pieces from Dead Ringers, The Fly, The Brood, eXistenZ, and Crash. To create this piece, I did the thumbnailing and painting in Photoshop, and I created a 3D version of the scene in Blender to assist with the extreme camera angle.
Digital painting, 2025.
I painted this scene in Heavy Paint after a particularly foreboding hallway in the basement of a church. I am drawn to scenes that emphasize space and light, especially in seemingly abandoned or underutilized areas. This piece was an exercise in relinquishing control over fine detail by using a software that encourages a "painterly" highly-textured workflow.
Oil on canvas, 2024.
I painted this scene in Heavy Paint after a particularly foreboding hallway in the basement of a church. I am drawn to scenes that emphasize space and light, especially in seemingly abandoned or underutilized areas. This piece was an exercise in relinquishing control over fine detail by using a software that encourages a "painterly" highly-textured workflow.
Oil on canvas, 2024.
I painted this scene in Heavy Paint after a particularly foreboding hallway in the basement of a church. I am drawn to scenes that emphasize space and light, especially in seemingly abandoned or underutilized areas. This piece was an exercise in relinquishing control over fine detail by using a software that encourages a "painterly" highly-textured workflow.
Oil on canvas, 2024.
I painted this scene in Heavy Paint after a particularly foreboding hallway in the basement of a church. I am drawn to scenes that emphasize space and light, especially in seemingly abandoned or underutilized areas. This piece was an exercise in relinquishing control over fine detail by using a software that encourages a "painterly" highly-textured workflow.
Digital painting, 2024.
I painted this scene in Heavy Paint after a particularly foreboding hallway in the basement of a church. I am drawn to scenes that emphasize space and light, especially in seemingly abandoned or underutilized areas. This piece was an exercise in relinquishing control over fine detail by using a software that encourages a "painterly" highly-textured workflow.
Digital painting, 2025.
I painted this scene in Heavy Paint after a particularly foreboding hallway in the basement of a church. I am drawn to scenes that emphasize space and light, especially in seemingly abandoned or underutilized areas. This piece was an exercise in relinquishing control over fine detail by using a software that encourages a "painterly" highly-textured workflow.
Digital painting, 2025.
I painted this scene in Heavy Paint after a particularly foreboding hallway in the basement of a church. I am drawn to scenes that emphasize space and light, especially in seemingly abandoned or underutilized areas. This piece was an exercise in relinquishing control over fine detail by using a software that encourages a "painterly" highly-textured workflow.