I moved to New York City in 2025 because I wanted to take my work seriously. I wanted to learn from people who have dedicated their lives to painting well.

I reached a point where I knew I needed more than working alone in my studio. I wanted stronger skills, better technique, and direct access to great teachers and historic artwork. New York offered all of that in one place. I had the opportunity to take classes and continue my training through the New York Academy of Art, and to participate in a residency at The Metropolitan Museum of Art, which has allowed me to study and work directly from masterpieces in the museum.

Spending time painting and sketching in museum galleries changed the way I see portraiture. Being surrounded by centuries of artwork — seeing brushstrokes up close, studying color choices, noticing what lasts and what doesn’t — sharpened my eye in ways no book or photo ever could. It pushed me to slow down, be more intentional, and raise my own standards.

Beyond the classroom, New York simply places you closer to opportunity. Being here means constant exposure to exhibitions, conversations, collectors, and other artists who care deeply about craft. Moving to NYC wasn’t about becoming something different — it was about becoming better. Everything I learned here finds its way back into my studio work and into every portrait I paint.

That love for art history deeply shapes how I paint today. Living in New York City gives me daily access to some of the most extraordinary collections in the world, and I spend a lot of time studying paintings in museums — especially at The Metropolitan Museum of Art — sketching, observing brushwork, and learning from artists who have been doing this beautifully for centuries.

All of that study finds its way into my work, even if you can’t quite put your finger on it. The softness, the colors, the calm — it’s intentional.