Good morning (still early here in Los Angeles),
A few weeks ago, I briefly introduced you to “Double Take.” The show opens in Geneva on October 29, and will make its way to Florida for Art Miami in December. For those nearby—and for bold travelers planning their next getaway—I would love to see you at either show!
“Double Take” is about that pause between recognition and realization. By definition, a “double take” is a delayed reaction to something unexpected, immediately after one’s first reaction. It’s that second look, that reconsideration, where truth deepens.
This exhibition will feature 15 new wall pieces and two tabletop sculptures, made from lucite, stainless steel, bronze, crystal, canvas, and cement. The variety of materials reflects the diversity of perspectives. Each medium holds weight differently, each one offering another way in.
For the first time, my line work is intentionally loose and hand-drawn, shifting away from the sharp precision I once chased. This is the least “safe” show I’ve done in years. More vulnerable, more experimental, and more personal.
INSPIRATION
When creating a new body of work, I often find inspiration in small, everyday moments. Watching a father play with his son reminds me of my own dad, and of what it might feel like to become one myself. Seeing an elderly couple holding hands makes me wonder: how did they meet, what does love that lasts a lifetime look like on its very first day?
The beauty wasn’t only in the moment. It was also in the before and after, the echoes and shadows that surround it.
This reflection led me to the concept of double take.
HANGING WORKS
For the paintings, I returned to the simplicity of canvas and paint. In the past, I chased perfection. But I kept returning to a phrase once told to me by my dear friend Gilbert Benhamou: “On voit la main de l’artiste” — “We see the hand of the artist.”
That thought has stayed with me. In the weight of the line, in the gesture of the hand, there is life, emotion, and expression. What at first appears simple—lines, colors, abstract forms—becomes layered with memory and strength.
In these paintings, the background is built from seemingly abstract colors and linework, that upon deeper reflection, reveal two recurring symbols: flowers and hands. The foreground shows a main figure(s) and its shadow(s), creating a dialogue between what is seen and what is felt.
Flowers carry paradox. We give them to show love and care, but in offering them we also acknowledge impermanence. From bud and bloom to wilt, each stage speaks to time, growth, and love’s changing form.
Hands serve as vessels of memory and connection. A baby gripping your finger, the touch of someone you love, the comfort of your parents’ grasp. Each action carries more than the moment itself. It unlocks a flood of feelings.
SCULPTURES
Sculptures are defined by the way light strikes them. Form and shadow move together, inseparable. In this collection, the shadow doesn’t wait for light. It’s embedded in each work. Bronze speaks to the moment, as we see it – a tangible, present truth. Optical resin represents what lies ahead – the unseen or unspoken.
HIGHLIGHTS
A few works I’m especially excited about (and will share more around in the coming weeks):
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“Now & Later” — a parent walking a child, whose shadow shows the roles reversed
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“Choices” — IF appears deep in thought, while the shadow reveals a devil whispering temptation
Look once and you’ll see the image. Look twice and you’ll feel the story.
Stay up,
