Visual artist doing work that attempts to understand the object quality of images.

My paintings are usually site specific and react to the spaces of exhibition. I recreate utilitarian uses of painting, which alter representational and perceptual planes, to make the painting perform as the space and ask the body to assume the role of the figure of the painting.

I am interested in working at the intersection of disciplines and opposing schools of thought. I believe my work tangos with the process of baroque painting techniques and the presentational strategies and formal undertones of minimalist art and some of the conceptual elements of Arte Povera, a fundamental contradiction but a world of possibilities for staging.

Visual analysis is the driving force of my teaching. I love teaching Drawing I and share with students the experience of making visible relationships that previously were invisible and not considered. I am committed to teaching form and content as a unit were meaning is always assuming a physical form.

Personally, I enjoy spending time with my son Melchor and my daughter Mila. I love to travel, and I especially love going to the coast and swimming in the very cold waters of the Chilean ocean.


  • M.F.A., Museum of Fine Arts (Boston)
  • BFA Universidad Catolica de Chile
  • Skowhegan School of Painting and Sculpture

Current and upcoming courses

  • A foundational course that explores observational strategies and theories of perception using a range of drawing tools. Project work is focused on observational drawing methods with attention to the articulation of line, shape, time, form, gesture, perspective, and value. In-class drawing exercises, weekly homework assignments, and group critiques address a variety of approaches to image making and visual expression, with some attention put towards the human figure. Aimed at first years and sophomores and those considering majors in Studio Art or Architecture. Also recommended for those considering majors in Media Arts and Sciences, or Art History.