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In The Silhouettes Collection, figures rise not as bodies but as ancestral murmurs — shapes carved from memory, myth, and the unseen architecture of the spirit world. Each silhouette stands like a doorway: a darkened form holding light inside it, a vessel where story gathers before stepping into the visible realm. This collection emerged from a period of deep reflection — when I found myself returning to the earliest forms of human storytelling. Traveling through Indigenous communities, studying ritual, and listening to the quiet wisdom of elders, I noticed that identity was often expressed through gesture, posture, silhouette.
In The Silhouettes Collection, figures rise not as bodies but as ancestral murmurs — shapes carved from memory, myth, and the unseen architecture of the spirit world. Each silhouette stands like a doorway: a darkened form holding light inside it, a vessel where story gathers before stepping into the visible realm. This collection emerged from a period of deep reflection — when I found myself returning to the earliest forms of human storytelling. Traveling through Indigenous communities, studying ritual, and listening to the quiet wisdom of elders, I noticed that identity was often expressed through gesture, posture, silhouette.
Another piece painted on wood... This one again incorporates a woman's facial profile representing my wife and daughter. This piece reflects the phases of community and harvest.
9" x 48" on Wood
$450 + S&H
Each silhouette became a way for me to honor universality. By removing facial detail, I trust that I have allowed each figure to become an archetype — an ancestor, a protector, a seeker. The choice was both artistic and spiritual: a desire to paint the essence rather than the surface, to capture the soul’s outline rather than the body’s likeness. These works were also shaped by my fascination with myth and cosmology. In many traditions, the spirit first appears as a shadow or a flicker — an impression rather than a form. The collection grew from that idea: that the unseen world announces itself quietly, through silhouettes that stand at the edge of vision. These beings seem born from an ancient dusk, the hour when the world softens and the boundary between the living and the remembered grows thin. They do not reveal faces or features; instead, they carry the essence of those who move between worlds. Guardians, wanderers, elders, and dream-figures — rendered in layered color and textured pattern, as if woven from the same cosmic cloth that once stitched constellations into the night sky.
Each silhouette became a way for me to honor universality. By removing facial detail, I trust that I have allowed each figure to become an archetype — an ancestor, a protector, a seeker. The choice was both artistic and spiritual: a desire to paint the essence rather than the surface, to capture the soul’s outline rather than the body’s likeness. These works were also shaped by my fascination with myth and cosmology. In many traditions, the spirit first appears as a shadow or a flicker — an impression rather than a form. The collection grew from that idea: that the unseen world announces itself quietly, through silhouettes that stand at the edge of vision. These beings seem born from an ancient dusk, the hour when the world softens and the boundary between the living and the remembered grows thin. They do not reveal faces or features; instead, they carry the essence of those who move between worlds. Guardians, wanderers, elders, and dream-figures — rendered in layered color and textured pattern, as if woven from the same cosmic cloth that once stitched constellations into the night sky.
Across the collection, the silhouette becomes a mythic device. It is the first shape a spirit takes when entering human imagination, the outline of a story before language arrives. These forms suggest that identity is not fixed but fluid—shifting like smoke, like shadow, like the memory of someone walking just ahead of you on a path you cannot yet see.
Across the collection, the silhouette becomes a mythic device. It is the first shape a spirit takes when entering human imagination, the outline of a story before language arrives. These forms suggest that identity is not fixed but fluid—shifting like smoke, like shadow, like the memory of someone walking just ahead of you on a path you cannot yet see.
Ultimately, The Silhouettes Collection is my meditation on presence. It is an exploration of how I recognize another — through shape, through energy, through the stories we carry even when our features fade. It is my tribute to the beings who walk with us, both visible and invisible, and to the ancient truth that the shadow often reveals more than the light.
Ultimately, The Silhouettes Collection is my meditation on presence. It is an exploration of how I recognize another — through shape, through energy, through the stories we carry even when our features fade. It is my tribute to the beings who walk with us, both visible and invisible, and to the ancient truth that the shadow often reveals more than the light.
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