‘Lady of the Lake’ - July 2026
watercolor on paper, 18”x24”in
I created this piece as a loose, atmospheric watercolor study centered on a single figure emerging from a watery, reflective space. The composition is intentionally minimal and expressive: the body is placed near the upper middle of the page, while the lower half dissolves into rippling reflections and soft color movement, giving the impression that the figure is standing at the edge of water or becoming part of it.
I used very light washes in the background—creamy beige, pale blue, and gray—to keep the scene open and airy. The figure itself is painted with delicate, gestural strokes rather than hard outlines. Warm flesh tones are mixed with cool blues and muted greens, which lets the form feel alive but slightly transient, almost dreamlike. The posture is relaxed and open, with one arm extended, creating a sense of balance and quiet motion.
The reflection below is where the painting becomes more fluid and abstract. I let the pigments break apart and spread irregularly, so the mirrored image is less a literal reflection and more an emotional echo of the figure above. The blues, violets, and soft earthy tones shimmer across the lower half, suggesting movement in water and a sense of depth without forcing realism.
Around the painting, the workspace is visible—water cups, brushes, and pans of color—which adds a handmade, intimate quality. It feels like a moment captured in the middle of creation, where the process is still present in the final image. The overall mood is contemplative, light, and slightly ethereal, with the figure seeming both grounded and dissolving at once.
‘Lady of the Lake’ - July 2026
watercolor on paper, 18”x24”in
I created this piece as a loose, atmospheric watercolor study centered on a single figure emerging from a watery, reflective space. The composition is intentionally minimal and expressive: the body is placed near the upper middle of the page, while the lower half dissolves into rippling reflections and soft color movement, giving the impression that the figure is standing at the edge of water or becoming part of it.
I used very light washes in the background—creamy beige, pale blue, and gray—to keep the scene open and airy. The figure itself is painted with delicate, gestural strokes rather than hard outlines. Warm flesh tones are mixed with cool blues and muted greens, which lets the form feel alive but slightly transient, almost dreamlike. The posture is relaxed and open, with one arm extended, creating a sense of balance and quiet motion.
The reflection below is where the painting becomes more fluid and abstract. I let the pigments break apart and spread irregularly, so the mirrored image is less a literal reflection and more an emotional echo of the figure above. The blues, violets, and soft earthy tones shimmer across the lower half, suggesting movement in water and a sense of depth without forcing realism.
Around the painting, the workspace is visible—water cups, brushes, and pans of color—which adds a handmade, intimate quality. It feels like a moment captured in the middle of creation, where the process is still present in the final image. The overall mood is contemplative, light, and slightly ethereal, with the figure seeming both grounded and dissolving at once.
