ABOUT ME

I’m a comic book artist, illustrator, and university professor who has taught visual storytelling and illustration in higher education for over fourteen years. My comic books and graphic novels have been published by Image Comics (Klik Klik Boom, The Ride), Oni Press (Holliday), 12 Gauge Comics (Resurrection), and Desperado Publishing (Ally), and I’ve created illustrations for Discovery Science Channel, Professional Golf Association, and Troy-Bilt, to name a few. My work has been displayed in over 40 international and national and exhibitions; notably the Czong Institute for Contemporary Art Museum (South Korea), Shockboxx Gallery (California), Del Mar College (Texas), and the National Gallery of North Macedonia. Additionally, my illustrations have been featured in 26 peer reviewed art and literature publications including ArtAscent Art and Literature Journal, Coffin Bell Journal, Brightness Magazine, Burningword Literary Journal, Box Literary Journal, High Shelf, Under the Sun Literary Journal, and Sand Hills Literary Magazine. I’ve had the honor of my work being recognized by international illustration competitions including Society of Illustrators West (Gold), American Illustration (6-time chosen winner), 3x3 (4-time merit winner), Cheltenham Illustration Awards, Brightness Illustration Awards (2-time winner), Creative Quarterly, and Communication Arts (finalist). After earning my Bachelor of Fine Arts and Master of Fine Arts in Sequential Art from Savannah College of Art and Design, I returned near my hometown of Nashville, TN with my wife and two children. Most days I can be found drawing, teaching, and perfecting my coffee brewing skills.

ABOUT MY ART

My artwork and research focus on methods of visual storytelling through the exploration of the human figure and environments. My art isn’t about perfecting each mark individually, but instead, using collective mark-making to communicate themes, emotions, and narratives. I investigate the effects positive and negative space have on compositions, mood, and storytelling, and how these components invite active viewer participation and analysis. In my work, I’m interested in challenging traditional illustrative rendering methods that typically rely on color. Utilizing arguably one of the more vulnerable art approaches—black and white line art—marks cannot be hidden by additional media and color applications. The result is an intimate view of my hand and vision, that is not obscured by further rendering.