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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.

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.


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.


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. 



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


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 – 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.

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.

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.