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The Depth of a Smile

Oil on Canvas – 36” x 48”
January 2020
In this painting l explore recent neuroscience research focused on the fascinating evolution and function of the limbic system, which harbors emotions and memories. What inspired me to paint about this theme was work I have done with victims of tragedies and abuses in two very distinct countries and cultures: Colombia and Cambodia. Their laughter and beaming smiles are infectious, almost enough so that one forgets about the pain and suffering that has been endured; this is clearly the unconscious point. To constantly relive the experience of death, rape, hunger, slavery, displacement, sickness and abject poverty, no matter if threats remain or not, completely inhibits any ability to function, maintain, or improve the situation. The smiles of these people represents a deep mechanism that is helping them to cope and survive.

Energy Transitions

Oil on Canvas
30″ x 40″ – April 2020


Energy is neither created nor destroyed, it goes through transitions of form and is contained within the forces of nature. Humans continue the vital search for sustainable ways to release and harness this energy.

Conductivity of Water

Oil on Canvas
24” x 28” – March 2019

An important way of understanding the content and quality of fresh water bodies and drinking water is by estimating the total number of dissolved solids in the liquid. This can be done by measuring the electrical conductivity of the water, which detects the electrical current passing between dissolved ions. These ions have positive or negative charges, and can be salts or metallic compounds or elements. While a certain level of conductivity in a fresh water body is normal (in salt water it is naturally very high), and varies between water bodies, any significant temporal changes in conductivity can represent contamination and/or degradation of the water, through human activities such as mining and intensive agriculture, or natural processes such as the erosion of soil (which also may be caused by human activities such as deforestation).

This painting communicates the concept of the electrical conductivity of freshwater through displaying a variety of chemical compounds that represent dissolved ions within a flowing river.


Oil on Canvas – 24” x 24”
May 2020

Inspired by the vital ecosystems, endemic plants and traditional food systems that have kept us and other species alive and in balance for millenia. The painting depicts the essential high-Andean paramo ecosystem, and traditional Andean crops that Indigenous ethnic groups have cultivated for generations.


Oil on Canvas – 36” x 48”
October 2019

This painting is about interconnectivity and shared knowledge between different integrated approaches, specifically complex systems science and traditional holistic indigenous worldviews. A “Western” scientist and Indigenous leader work together within an Amazonian “chagra,” with a cosmic web and Einstein-Rosen bridge (“wormhole”) symbolizing the connection between different worlds and views.

Guardians of The Forest

Oil on Canvas
48” x 54” – June 2019

Despite an increasingly robust global body of evidence that shows secure land-rights for traditional communities translates to lower rates of deforestation and land degradation, a disproportionately low amount of attention is being given to utilizing these communities as part of the solution to profound global challenges; as stewards of the forests, protectors of ecosystems and mitigators of climate change.

Only 10% of collective lands, including those of indigenous groups around the world, have recognized legal titles, essentially ignoring their tremendous global environmental and cultural value. Even worse, these groups and territories are increasingly vulnerable to threats, displacement, deforestation and exploitation of the natural resources of their territories.

In many of the most heavily forested and biodiverse countries, such as Colombia, Brazil, the Democratic Republic of Congo, the Philippines and Indonesia, indigenous communities and their leaders who speak up for their rights, and oppose the often connected commercial (both “legal” and illicit), political and militant actors who want to exploit or expropriate their territories, face threats and violence, and all-to-frequently displacement or death. As the troubling case of Colombia shows, it is not enough to just put indigenous rights in writing, even in a national constitution; land rights and tenure must be secure, and security must be ensured so these communities can safely and sustainably manage their lands and speak up for their rights in the present, with an eye towards the future. 

Three forest-dwelling indigenous leaders from different parts of the world hold their ground along with emblematic forest species, against destructive intrusions into their territories.


The Eye of Our Storm

Oil on Canvas
36” x 48” – September 2018
While it is difficult to attribute single hurricane events to anthropogenic climate change, the increased frequency and strength of these powerful storms is almost certainly a result of higher atmospheric and ocean temperatures.
The saturation vapor pressure of water in the air is directly related to temperature. This means that even small increases in atmospheric temperature can lead to a substantial increase of moisture in the air. This moisture can then be released in extreme precipitation events.
In the case of hurricanes, warm air and warm water interact to form and power the storm, and warmer ocean temperatures are allowing more intense hurricanes to form and be sustained as they move across the oceans before making landfall.

The Hydro Myth

Oil on Canvas
36” x 48” – May 2019

Hydroelectric dams impact local ecosystems regardless of their size or geographic location, but lowland tropical ecosystems can suffer the most wide-ranging negative impacts from large hydropower constructions. It is in these rich tropical forests and floodplains that so much of the world’s biodiversity and native populations reside, and also where carbon is stored in large quantities in the soil and vegetation, which helps buffer the world against rapid climate change. In mighty river basins like the Amazon in South America, the Congo in Africa and the Mekong in Southeast Asia, current and planned construction of large dams in their tropical ecosystems are due to cause extensive damage to aquatic and terrestrial species, local communities and global and regional climate patterns.

This painting depicts a flooded and fragmented Amazonian ecosystem, caused by a hydroelectric dam in the background. The golden catfish and tucuxi river dolphin represent species whose long migratory ranges have been blocked. Decaying organic matter and accumulating sediment are producing bubbles of methane. An indigenous hut represents displaced indigenous communities, and a dead monkey communicates the impact that these constructions have on terrestrial biodiversity.


Oil on Canvas
24” x 48” – April 2019


One of Amazon’s most charismatic, intelligent and vulnerable species is the pink river dolphin, Inia geoffrensis, also known locally as the “Boto” or “Bufeo.” 


The pink river dolphin uses high frequency echolocation (compared to the lower frequencies used by its saltwater cousins) to navigate through the murky waters of the extensive Amazon (and Orinoco) river basin, and to capture its prey.


Threats to this beautiful species include fishing (usually for bait to catch other commercially valuable fish), mercury contamination due to mining activities, and the fragmentation of their migration routes caused by large hydroelectric dams. 


The indigenous cultures of the Amazon have myths about this curious creature, some of which claim that the male Bufeo kidnap and seduce the young women of the communities when they get too close to the riverbanks.

Ancestral Anaconda

Ancestral anaconda
36″ x 48″ – Oil on Canvas
July 2020
Tribes in the Colombian, Ecuadorian, Peruvian, Bolivian and parts of the Brazilian Amazon refer to the Anaconda as the “Mother of Water,” or “Yakumama” in Quechua. The shape of the body of the Anaconda forms the extensive Amazon river basin, and the water, in various ways, is seen as a giver of life for these communities. Depending on the tribe, the Anaconda (which is the world’s largest snake at around 30 feet in length and 500 pounds in weight ) can represent an originator of all life and a connection to the cosmos, or a god specifically of fertility, language, protection or strength.
For many Amazonian tribes concentrated in my home country of Colombia, the Anaconda is believed to be born from the Milky Way. It descends from the Cosmos, forming the Amazon river and its tributaries. From its mouth, life, communities and language are born.
I represent this legend here through a depiction of the milky way galaxy, a powerful Anaconda descending from the cosmos and forming the Amazon river basin, and a waterfall coming from its mouth as its tongue, giving birth to the living and speaking world.
⚡This painting is featured on The Solutions Journal Article “Colombia’s Dynamic Rivers: Integrated Interpretations and the Rights of Nature”!

Mama Wala

Oil on Canvas
36” x 48” – June 2019


A depiction of some of the Nasa tribe’s most sacred symbols. The “Cuantandera,” which is carefully woven into their traditional wool mochila bags, forms the stages of the painting, within the mother earth, or “Mama Wala,” in the Nasa Yuwe language. 


Oil on Canvas
24” x 36” – May 2019 


For many, glyphosate conjures up images of vast industrial monocultures, genetically engineered crops, and huge global industries and corporations. But glyphosate in particular, as the world’s most widely used herbicide, has and continues to have many other applications, and its full impacts on human and environmental health are poorly understood. 


No matter on which side of the “GMO debate” one falls, or how toxic or carcinogenic one believes glyphosate itself to be, or how long glyphosate residues actually stay on plants and within different types of soils, any fair assessment shows that there have been grave misuses and overuses of this “organophosphorus ” chemical compound (specifically a “phosphanoglycine”), with insufficient consideration for its potentially far-reaching consequences.


The indiscriminate aerial spraying of glyphosate in Colombia under the umbrella failure of “Plan Colombia” that was aimed at the eradication of coca plantations (coca being the base ingredient of cocaine), is a particularly egregious example of the misuse of glyphosate. Incredibly, despite the failures of Plan Colombia in curtailing cocaine production, and the poorly understood but widespread environmental and social impacts that were wrought by the aerial spraying of glyphosate, as of 2019 the Colombian government, supported by the United States, is re-initiating the “strategy” of aerial fumigation of glyphosate.


A symbolic depiction of the wide ranging impacts of aerial glyphosate spraying in Colombia. The drift of the spray can kill not only the targeted coca plantations, but also endemic and medicinal plants, while entering water bodies, and causing other potential health and environmental impacts.



Oil on Canvas – 30” x 40”
January 2019


In Colombia, land is power. The more than half-century long civil war (which despite international proclamations and nobel peace prize adornments, still has not reached its resolution), was more than anything about the control of land. More than seven million people have been internally displaced during the conflict, which is the most in the world (Syria is second). 


The Colombian constitution of 1991 is recognized as one of the strongest legal documents in the world in terms of guaranteeing indigenous rights, to land and social participation. Nonetheless, an often absent and always corrupt government rarely fulfills the obligations of the constitution, and indigenous groups and leaders who stand up and speak up for their territorial rights are often silenced, permanently.  


Colombia has become the world leader in assassinations of social and environmental leaders and human and land rights defenders, a trend that is only growing since the signing of the “peace agreement” between the Colombian Government and the FARC (Fuerzas Armadas Revolucionarias de Colombia) in 2016. 


Here a young indigenous Nasa leader is being silenced by dark forces while trying to hold on to his land.

The True Cost

Oil on Canvas
27” x 54” – August 2018


While Colombia has several clear direct drivers of land cover change and deforestation, both legal and illegal in nature (though the line between the two is often blurred), some fundamental social and governmental mechanisms and infrastructure developments are likely the most important drivers of deforestation in Colombia, though they are indirect in nature and hard to quantify. The laws of land titling encourage the clearing of land, regardless of whether or not that land is converted from forest into something commercially productive or sustainable, and whether or not that land was gained through violence and forced displacement of people with or without legal tenure to the land. Much “land-grabbing” is done by smallholder farmers, who then sell the newly deforested plots in order to consolidate them into large ranches owned by wealthy landowners. In terms of land distribution, Colombia has one of the world’s highest levels of inequality, with 13 percent of the landowners holding 77% of the land. 44.7% of Colombia’s rural population is estimated to live in poverty. 

Road construction, as in many other parts of the world, has also opened up frontiers that then lead to legal and illegal activities that directly lead to deforestation.

This painting displays some of the most identifiable drivers and impacts of deforestation in tropical forests, which are the most biodiverse terrestrial habitats on the planet. Road construction, cow pastures, forest fires, oil extraction, gold mining and palm and soy monocultures, are all portrayed, as are habitat fragmentation, biodiversity loss and carbon emissions. The drivers themselves are driven in large part by global supply chains and consumer demand for inexpensive products that do not factor in their true costs. 


Oil on Canvas  – 40” x 40”
April 2018


The extremely unique high-altitude ecosystem of the “paramo” is symbolically displayed in this painting, through it’s vulnerable flora and fauna.

Below the Surface

Oil on Canvas
40” x 48” – April 2018 


In the harsh desert landscape of La Guajira, Colombia, water has always been a scarce and precious resource. In this extreme environment, the local Wayuu people have always practiced a system of water capture, storage and conservation in wayuu-made reservoirs called “jagueyes.” These jagueyes are used to sustain humans, animals and agriculture alike, in historically predictable times of dryness.

Present day La Guajira is suffering from an extreme scarcity of non-contaminated water. The Wayuu indigenous people, their crops and animals, and the endemic wildlife of the “Cerrejon Formation” region, are becoming ill, dying and being displaced at alarming rates. 

This environmental and “humanitarian crisis” results from a complex mixture of global climate change, unsustainable land use, corrupt and conflicting interests of national and local governance along with national and international governmental and non-governmental organizations, terrible water and resource management, inadaptability of traditional beliefs to present circumstances, and economic interests of multinational corporations and the global supply chains that support them. One of the world’s largest open-pit coal mines, El Cerrejon, a multinational venture that does it’s fair share in exacerbating our planet’s global problems, has helped to ensure the decimation of the once highly autonomous Wayuu in La Guajira, especially through the depletion and contamination of their jagueyes, groundwater, and the Rancheria river.

The crisis in La Guajira and with the indigenous Wayuu helps to clearly illustrate what can happen when these conflicting and often malicious interests are thrown upon a vulnerable environment and people.



Oil on Canvas – 32” x 48”
April 2018


This painting was inspired by the events that transpired in Mocoa, Putumayo in March 2017, where more than 300 people, many indigenous, died in a flash flood and landslide after an uncharacteristically intense downpour. Over the past decade, the region around Mocoa, which is within the Colombian Amazon rainforest, has been heavily deforested for cow pasture and unsustainable agriculture. The weak and degraded soil was quickly washed into the rising river during the storm, taking trees, rocks and many other objects along with it. The water came rushing through the valley and destroyed hundreds of homes and lives. These dangerous floods and landslides are a consequence of climate change, deforestation and degradation and other unsustainable land use practices, and are becoming more common both in Colombia and around the world. 


Extended Drought

Oil on Canvas
30” x 40” – February 2018


Historically there were predictable periods of rain and dryness in La Guajira that followed equatorial weather patterns: there was the first dry season between December and April, followed by a short wet season from April to May, then an extended dry season from May to September and a final wet season from September to December. The Wayuu had local names for each of these seasons, with the main rainy season from September-December called “Juyapu.” Now these seasons are highly unpredictable, or do not exist at all. From 2012 to 2015, there was essentially no rain.

This kind of severe multi-year drought has predictable negative impacts on water availability and the well-being of wildlife, livestock, agriculture and the local populace. In La Guajira specifically, without rain, the jagueyes dry out, crops, cattle and natural flora and fauna die, and the Wayuu suffer. The cultural impacts on the Wayuu, who live by the rain and incorporate its presence into their beliefs and traditional practices, is less quantifiable, but also profound. 

Desertification occurs on extremely degraded land, especially in drylands in semi-arid zones. Desertification is strongly connected to the extended droughts described above, and to unsustainable land use. 

La Guajira is Colombia’s most rapidly desertifying region, for both of these reasons. The extended droughts and rising temperatures, the heavy use of the land for extractive industries, namely coal, and the damming of the principle waterways, makes “productive” use of the land all-but impossible.

In this painting, the scorched territory of the Wayuu in La Guajira is depicted, with a desperate attempt by young Wayuu children to sustain themselves and their culture through blocking a road with an extended handmade “chinchorro.”


Oil on Canvas
24” x 36” –  January 2018


The term “Tropical Glacier” may seem somewhat counter-intuitive to those unfamiliar with their presence, but they exist because temperature decreases substantially with altitude, allowing precipitation to fall as snow, which accumulates and pressurizes over time as ice. However, as temperatures continue to rise due to climate change, the melting of Tropical Glaciers is due to worsen over the coming decades. This reality threatens aquatic and terrestrial ecosystems as well as the food and water security for tens to hundreds of millions of people.

Colombia has six remaining designated glaciers, in four distinct glacierized areas. The four areas are the Sierra Nevada de Santa Marta, the Sierra Nevada de El Cocuy, Nevado del Huila volcano and three glaciated volcanoes within Los Nevados National Park (Nevado del Santa Isabel, Nevado del Tolima and Nevada del Ruiz). The volcanoes of Los Nevados National park and Nevado del Huila are part of the Cordillera Central of the Andes, Sierra Nevada de El Cocuy is part of the Cordillera Oriental of the Andes and the Sierra Nevada de Santa Marta is a coastal mountain range independent from the Andes. These glaciers have been losing ice mass for more than 150 years, since the “Little Ice Age”(LIA), but the scale and speed of this glacial melt has grown exponentially over the past 20-50 years.

Tropical mountain glaciers are rapidly melting around the world (up to 99% are in South America), but those that remain in Colombia could be entirely gone before 2050.



Oil on Canvas – 30” x 40”
November 2017


In this painting I show a tiny mollusk called a Pteropod, also known as a sea snail or sea butterfly, in the process of dissolving due to Ocean Acidification. The Pteropod forms the base of many marine food webs, so the consequences of its disappearance will reverberate up the food chain and affect many animals that depend on it for food, including the critically endangered North Atlantic Right Whale, which is displayed here in the distance through the dissolving Pteropod shell.

As part of the dissolution and death of the Pteropod, I also display bleached and dying Coral, another essential marine species that suffers greatly due to both rising Ocean temperatures and Ocean Acidification

The Water Children

Oil on Canvas – 30” x 30”
November 2017


The Indigenous Misak tribe of the Cauca region of Colombia consider themselves to be born from a great river in Ancient times, and call themselves “The Water Children.” The Misak remain very traditional to this day, despite constantly having to fight for their land and rights, and have frequent “water ceremonies,” where they play native instruments and do dances that give respect to their territory, and especially to their sources of water.

The spiral is a symbol that is particularly important to the misak, and it can be found in many of their woven organic attire. It represents in their World View the infinite circle of life, from birth to death, and the cycle of the universe as a whole.  This painting models a water ceremony around a spiral of water, which is shaped in the form of a traditional Misak hat called the Tampalkuari, and the colors of the painting are modeled on the flag of the autonomous Misak territory.

Messenger of Water

Mixed Media – Oil and Acrylic on Canvas – 16” x 20”
November, 2017


One of the communities that I work personally with and study their beliefs and symbolism is called the Kamentsa. They are a deeply spiritual people, worshiping and symbolizing the natural world and their territory in the Cloud Forests of the Colombian Amazon.

This painting depicts the Frog, considered by the Kamentsa to be “The messenger of water and the goddess of fertility and femininity.” The geometric depiction is the Kamentsa symbol for the frog that they weave into many of their remarkable traditional crafts, and the central portion of the painting displays a traditional Kamentsa mask that is worn during ceremonies, and displays symbols and colors of water and femininity.


Oil on Canvas – 36” x 48”
October 2017


A painting inspired by the circumstances of many displaced people and wild animals around the world, who must abandon their homes, territories, families and cultures as a consequence of violence, economic and natural exploitation and climate change.

In order to depict this global issue, I have three human models of refugees. There is a Sudanese woman and Syrian little boy, both victims of internal violence and conflict within their respective countries, and a Wayuu Indigenous Colombian girl. There are tens of thousands of Wayuu that have been forced from their land due to drought brought on by Climate Change and exploitation of natural resources and the damming of their principal waterway, the Rancheria river.

This painting was completed during my residency in Portugal from September – October 2017.

Sacred Curse

Oil on Canvas – 20” x 28”
May 2017


The model for this painting, Marina, is a Koreguaje woman who has been displaced multiple times from her territory in the Amazon in Caqueta, Colombia. The Koreguaje are a culture based on medicinal plants and agriculture, but have suffered from terrible exploitation of their lands for almost 200 years, starting with Quinine for malaria treatments, followed by Rubber, and more currently for the illegal drug trade and mining. In this painting Marina is seen with the flower of the Quinine tree, with the latex from the rubber trees behind her creating her torment. She is holding a handmade palm bag that inside shows the landscape from her beautiful home territory.


Oil on Canvas- 30” x 40”
May 2017


This painting represents the ancestral fire ceremony of the Kankuamo tribe of the Sierra Nevada de Santa Marta in North East Colombia. During the ceremony, coca leaves are thrown into the fire to rid oneself of past demons, which for several decades is done by those who have suffered from Colombia’s ongoing conflict.

Freed Mind

Oil on Canvas – 20” x 28”
May 2017


The Kamentsa tribe is extremely traditional and spiritual, basing much of their beliefs on shamanism, symbolism, and traditional medicine. They are based in the western limits of the Amazon jungle in Putumayo, Colombia.

The Shaman, or “Taita” for the Kamentsa, has a duality with the Jaguar, the solitary leader of the Jungle. The Taita is known to be the solitary guide of the community, both in the spiritual and natural world. In this painting we have a Shaman transitioning into a Jaguar with a headdress of Macaw Parrot feathers, a symbol of freedom of mind and body. Additionally, above the face is the symbol of the Andean Bear, which represents Power for the Kamentsa. In the background is the Kamentsa symbol of the Sun, giver of life and energy, and the Moon, a sacred symbol of femininity.


Oil on Canvas – 12” x 48”
March 2017


This is a conceptual symbolic painting meant to portray various degrees of insecurity, and uncertainty, that are taking place with our planet and with many cultures. In Colombia, specifically, a recent Internationally acclaimed peace deal signed in November 2016 between the Colombian Government and the Marxist FARC guerillas, is viewed in the eyes of many indigenous communities in Colombia with great uncertainty.

Power vacuums have resulted in areas where the FARC are disarming, and illegal bands and government sponsored paramilitaries that represent multinational interests, are already moving in to fill those vacuums, and violently silencing anyone who speaks up against them. Expansion of Oil Palm monocultures, which destroy forests and biodiversity, is a prime example of a recent trend. Colombia, with the “peace” has plans to vastly expand their Oil Palm industry, which is already the fourth biggest producer in the world and largest in the Americas.


Oil on Canvas – 24” x 32”
February 2017


This painting shows the marvelous nearly extinct Zenú culture, whose modern descendents craft incredible hammocks of cotton and hats made of a plant called “cana flecha,” but who do not speak the Zenu language or know many of the past ancient traditions.


Oil on canvas 24″ x 30″
December, 2017


The balanced between the power and aggressiveness of the wolf with the calm colors, ocean, moon and dolphin, shows a sense of unity that we all have, which is our internal “Euphony”.

Unmoved Mover

Oil on Canvas – 20” x 20”
January, 2017


The beautiful endangered Sea Turtle, from the giant Leatherback to the Hawksbill, Loggerhead and Green Turtle, are suffering greatly from climate change, pollution, plastics, and the poaching of their eggs, especially in South and Central America.

The turtle is also an important symbol for many cultures. For example, the Indigenous Wayuu of the Northeastern Colombian state of La Guajira, where several species of Sea Turtle lay their eggs, consider the movement of the turtle and the shape and patterns of its shell, of sacred importance.

“Unmoved Mover” is a paradox both in cosmology and philosophy concerning infinite regression. Two common ways of visualizing the paradox are the”turtles all the way down” argument, where a flat Earth is supported on the back of a “world turtle,” and below that turtle is yet another turtle, and so on until infinity, and the “chicken or egg” argument.


Oil on Canvas – 20” x 24”
November 2016


From the Misak community of Cauca, Colombia, a very traditional group that weaves incredible crafts in sheep wool. This depicts a leader of the community, a “Mama” refining her wool, with the background representing a sacred and symbolic symbol for the seasons and energy.

Weaving Tradition

Oil on Canvas – 24” x 30”
November 2016


“Werregue”, traditional palm in the indigenous community
“Wounaan” ubicated in  Chocó, Colombia. The experience, turned into a woman, unceasingly weave the symbolism of her people through fine threads naturally pigmented.


Oil on Canvas – 24” x 28”
August 2016


For the Wayuu tribe of the vast desert region of La Guajira in Northeast Colombia, Pulowi is the female god of wind and destruction. The true destruction of the region, where thousands of Wayuu children die of malnutrition, is drought caused by global warming, and a massive coal mine called Cerrejon which has dammed the principal rivers of the region and caused horrible pollution to the remaining waters that do flow into the communities.


Oil on Canvas – 22” x 28”
July 2016


Inspired by the mythology of the Kamentsa tribe of the Colombian Amazon, whose beautiful creationary tale describes a lightning bolt striking a rainbow, and from there come crystals and Macaw Parrots to disperse life to the rest of the world. Looking on is the “Pachamama,” or mother earth.


Oil on Canvas – 16” x 20”
April 2016


A pregnant Embera woman is trapped into an existence of illegal gold mining. Her husband was killed in a mining accident in an illegal mine known as “the tunnel”, and her unborn baby will have no option but to work in the mines as well once capable, as child labor is all too common, and they need to survive.


Oil on Canvas-30” x 40”
March 2016


Representing the “Cosmovision,” or World View, of the Arhuaco tribe of the Sierra Nevada de Santa Marta in Northeast Colombia. The Arhuacos are a deeply spiritual people and consider the Sierra Nevada, which is the highest coastal mountain range on the planet, to be the center of the Universe.


Oil on Canvas – 24″ x 24″
August, 2015


A conceptual painting representing a life, world, and universe without limits: an Unbounded World!


Oil on Canvas 20″ x 24″
June, 2015

This painting was inspired by an encounter with the Ethiopian wolf, the rarest Canid in the world, high in the Bale Mountains of Ethiopia. I am symbolically tying this rare and spectacular animal to the rarity of finding truly and completely sincere and wonderful human beings.


Oil on Canvas – 20”x 24”
April 2015

Only a person who Risks is Free.

A Harsh Reality

Oil on Canvas – 30” x 48”
April 2015

An exposition of the guerilla and paramilitary groups in Colombia, most notably the FARC, former AUC, and current “Bacrims,” and the fear and destruction that they force upon the very people they falsely claim to help; the poor and especially native people, groups of which more than six million are now displaced in Colombia. In this painting, we have Indigenous people from the Caldas region of Colombia, where the best coffee in Colombia comes from. They are being robbed, while in the background the extremely active Volcano, Nevado del Ruiz, is erupting. The indigenous child chooses to run towards the erupting volcano.


Oil on Canvas – 16″ x 20″,
April, 2015

Based on personal experiences in an isolated town of the Cotahuasi Canyon in Perú, where the entirely indigenous communities are descendants of the Incas, now living in very difficult conditions. Above the town are lovely Inca ruins, called Maucallacta, a vestige of better times for these people. While in the town, I met this boy in the painting. He was very dirty and hungry and eager to eat a potato. We watched a soccer match together that was happening in the town that day, and it was incredible to me how much of their past glory these people had lost. Behind the little boy in the painting is one of these soccer players trying to score a goal against an Inca warrior, who is desperately trying to defend his beautiful lost culture.

One More Anonymous

Oil on Canvas – 20″ x 20″
February, 2015

A painting representing disenfranchised native Colombian people.

Heart of the Himalayas

Oil on Canvas – 24″ x 27
February, 2015

This painting is about Nepal, where I spent two months in 2014 and stayed with local communities high in the mountains. The painting displays the life and soul of these lovely people in their incredible natural setting, all based on my experience and observation.

Lost World

Oil on Canvas – 37″ x 25
January, 2015


The Yanomami people live in the Tepuyes of Venezuela. The painting shows the vulnerability that many indigenous peoples of the world suffer.


Oil on Canvas – 47″ x 35″
October, 2015


Ahimsa: The concept of nonviolence!


Oil on Canvas – 18″ x 24″
April, 2015


A work with several meanings. The Praying Mantis takes the form here of both Predator and Prey. In his hands is an Emerald, within the Emerald is a Miner, who himself also represents Predator and Prey. Miners, especially in Colombia and throughout South America, are terribly exploited, and the majority are indigenous, but the work they do is also an exploitation of nature, represented by both the Emerald and the Praying Mantis. To the sides of the Mantis are her exposed eggs, in silver, one of the most coveted elements on this continent, and especially exploited in the atrocious mines of Bolivia. I myself visited a silver mine in Potosi, Bolivia to a depth of more than 100 meters, which is only a small glimpse into the terrible work these exploited miners are forced to do.

Khrut Vahana

Oil on Canvas -30” x 40”
December, 2014


Many symbols and spiritual beliefs are intertwined throughout South and Southeast Asia, transcending race, organized religion and historical territorial and military disputes. This is especially apparent through the close ties and parallel histories of Buddhism and Hinduism, now two of the world’s principal belief systems.

No two symbols better represent this transcendence than the Garuda, or “Khrut” as it is known in Thailand, and the Emerald Buddha. The Garuda is known in Hindu mythology to be the “Vahana,” or vehicle and protector, of Lord Vishnu, but is also prominent in Buddhist symbolism, and is often seen sculpted on the outsides of Buddhist temples. The Emerald Buddha has one of the most remarkable and improbable histories that can be imagined, surviving perilous travels and natural disasters throughout the region, and now resides in the Wat Phra Kaew (Emerald Buddha Temple) in Bangkok, Thailand, surrounded and protected by golden Garudas.

Golden Triangle

Oil on Canvas
20” x 20, November, 2014


The fascinating history of the Poppy plant manifests itself through the face of an aged Hmong Chinese man smoking Opium from a bamboo pipe with a porcelain bowl. This man resides in a village in Laos within a region between Laos, Myanmar and Thailand known as the Golden Triangle.

Slow Down

Oil on Canvas – 20” x 20”
October, 2015


Inspired by the moments following a high-speed motorcycle accident. The accident was caused by a line of goats crossing a very slick road amidst a downpour, and the result was a seemingly endless skidding and hydroplaning down the highway alongside the overturned motorcycle. Time seemed to slow down in these moments, sensory perception greatly focused and enhanced.

The painting plays on concepts from physics, namely relativity theory; at increased velocity, time does indeed slow down, such as when approaching a black hole, whose singularity, or infinity, may represent a true stoppage of time. But this painting goes beyond the equations and shows a very real relative nature of time within our own minds which is more difficult to objectively define.


Oil on Canvas – 18″ x 18″
October, 2014


Candomblé has its roots in various African belief systems, but its modern incarnation is a direct result of enslaved Africans who carried their beliefs and superstitions with them when shipped to Brazil, starting in the 16th century. The mixing of different African beliefs, specifically those of the Yoruba, Fon and Bantu, their adaptation to circumstances in the new world, and certain incorporations of Catholicism, resulted in what we today acknowledge as the Afro-Brazilian religion Candomblé.

In this painting I symbolically represent the unique blend of slavery, religion and animistic myth that manifests itself during Candomblé ceremonies, where priests are possessed by spirits known as Orishas, often in the form of animals.


Oil on Canvas – 16” x 20”
April, 2014


Ayahuasca is a powerful psychedelic natural “potion” that has been used by indigenous Amazonian cultures for centuries, both for spiritualism and as a medicine (“self-cleansing” through drinking Ayahuasca is believed by the Shamans to help remove anything from parasites to infections to cancer).

More specifically, Ayahuasca is a boiled then condensed and concentrated mix of various leaves and vines, most notably the Banisteriopsis vine, which gives it a red color and is responsible for its principal psychoactive properties. The exact preparation depends on the Shamans and regiones.

Presence of Mylai

Oil on Canvas – 20″ x 24″
September, 2014


Atrocities of war can occur in and by any culture, at any time, in any place, given proper indoctrination, and those horrors can live on through generations. The My Lai massacre, in which United States “soldiers” slaughtered upwards of 504 defenseless woman and children on March 16th, 1968, is a perfect case in point, and the inspiration for this painting. These US soldiers had been convinced that even the babies were booby-trapped with grenades, and carried out their orders in such barbaric fashion that the wounds of those in Vietnam today with any ancestral connection to this tragic event, still feel fresh.


Oil on Canvas 24” x 36”
March, 2014


In this symbolic work, I aim to project one of my most cherished concepts for living my life and doing my art: improvising and being spontaneous.
Some of the symbols in this painting which demonstrate this concept are a labyrinth with multiple exits, wind, a motor with crossed-wires, vision and light, time, and fun. These are basic structures or forces that precipitate spontaneous experiences and decisions.

The colors represent a profoundness of experience and serenity that is found when staying true to this philosophy. A hidden message can also be deciphered if one looks closely at the structure of the painting.
Improvise! Break away from routine and planning and so much more can be discovered!

Without Music Life Would Be A Mistake

Oil on Canvas – 24” x 48”
March 2014


This painting was inspired by one of my favorite quotes from one of my favorite philosophers.

Lencois Harmony

Oil on Canvas – 36” x 36”
August, 2014


Lencois Harmony is about a Latin Family living in Harmony with nature, and the peace and connection they feel with each other and the environment. The setting for the painting is Lencois de Maranhenses in Northern Brazil, where the simple beauty of the place inspired me for this painting.


Oil on Canvas – 16” x 24”
August, 2013


The spirituality and symbolism of the Kuna is on display in this painting, exposing a beautiful and still autonomous culture. The Gunalude (known more commonly as Kuna) are Indigenous South American Indians located between southern Panama and northern Colombia, most notably in the Archipiélago de San Blas (Panama) and Urabá (Colombia). The painting was inspired by a very difficult experience that My Partner, Henryk, had with the Kuna.

Henryk found himself stranded on these islands for nearly three weeks. There was no transport out, and as he found out, very little help within.The Kuna felt no compassion for Henryk, being naturally skeptical of foreigners and themselves holding to completely different belief systems of “humanity.” Henryk fell very ill, to the point of delirium through a full body bacterial infection of his blood. He needed medical attention urgently and some sustenance, but the Kuna made no effort to help, even going as far as patronizing him and poking him with sticks and laughing while he lay wasting away in his hammock.

The Adequate Spark

Oil on Canvas – 24” x 36”
June, 2013


Using my imagination, I painted my interpretation of one of my favorite and most personal songs, “La Chispa Adecuada (The Adequate Spark)” by the Spanish rock band, Heroes del Silencio. Listen closely to the intelligent lyrics of this song and much of my symbolism will become clear.