I am a traditional realist narrative painter, and this means I specialize in creating art that involves precise drawing skills and a deep understanding of Munsell color theory. This color theory is quite versatile, being used not only by painters but also by archeologists, botanists, geologists, and scientists to reveal intricate details about our environment.

In my artistic practice, I focus on telling stories through images, and I rely on fundamental elements like hue, value, and saturation to bring my creations to life. My subjects encompass a wide range, from objects and animals , plants, sea,  and people, and I tend to infuse my style with subtlety and quietude, often incorporating a touch of magical realism. I prefer to paint directly from what I observe in nature, though I do occasionally use my own photographs as references. I have a particular fascination with capturing the interplay of light on my subjects, and you can find evidence of this in my art, such as my interest in sea shells and animal skulls that I collect from our local beaches. I keep them at my easel, where I can watch how the afternoon light transforms their architectural beauty.

My art is deeply rooted in my connection to my natural environment, especially the backcountry and the coast of Santa Barbara, California. This region holds immense personal and cultural significance for me as I am part of the Chumash ancestral peoples. Through my artwork, I strive to describe and preserve my cultural heritage for future generations to appreciate and learn from.

In addition to my broader portfolio, I have a special focus on portraits of cultural bearers within my community, many of whom are elders and cherished friends and family members. I see these portraits as a way to honor their invaluable contributions and to contribute to the preservation of our cultural legacies.

I have been extremely fortunate in my artistic journey to receive mentorship and guidance from prominent American painters, including Bo Bartlett, Graydon Parrish, and David Jon Kassan, all of whom are celebrated teachers in the field.

In terms of materials, I rely on a specific set to bring my visions to life. This includes working on wood panels and using oil paints. I also employ various mediums such as Liquin, linseed oil, and demar varnish, along with solvents like mineral spirits, to achieve the desired effects in my artwork.

I believe I have a dedication to traditional realist narrative painting, my deep connection to the environment and cultural heritage, and my commitment to my heritage. 

I have a diverse and rich cultural background that has significantly influenced my life and artistry. My heritage is a tapestry woven from various American Indian communities. My 

On one side of my family, my paternal grandmother, Nellie Pommier, was Chumash and French. The Barbareno Chumash, although not federally recognized as a California tribe, have a deep-rooted presence in California, including Santa Barbara, where I was born and raised. The anthropologist Dr. John Johnson, affiliated with UCSB and The Santa Barbara Natural History Museum, conducted a comprehensive study of our family tree. This research helped illuminate our Chumash heritage and the significance of our connection to the land and water in Santa Barbara.

Interestingly, my journey of self-discovery continued as I learned about my Tlingit/Haida heritage. In 1971, the Alaskan Native Claims Settlement Act recognized my family as Tlingit/Haida, shedding light on a previously unknown aspect of our cultural background. Growing up, I was not fully aware of this part of my heritage, as my family primarily identified as Mexican due to our Spanish surnames and linguistic connections.

It was only in my adult years, during research for the American Indian Health Clinic Needs Assessment, that I had the opportunity to interview Santa Barbara Chumash. Through these conversations, I gained a deeper understanding of my tribal history and the shared cultural ties that bound us together.

In my 40s, I made a deliberate choice to move to the homeland of my Tlingit grandmother, who had been adopted at the age of 4 by Santa Barbara Missionaries from Sitka, Alaska. In Sitka, I reconnected with my relatives and immersed myself in our rich tribal history, contemporary culture, and traditional practices.

Both the Chumash and the Tlingit people share a maritime heritage, which has played a pivotal role in shaping my artistic perspective. My upbringing involved playing on the shores of Santa Barbara beaches and traveling by boat to the Channel Islands. This profound connection to the sea, the natural world, and the land informs the essence of my artwork.

I am deeply committed to ensuring that my story, as well as the cultural legacies of the Chumash and Tlingit communities, are passed down to future generations. I accomplish this through my storytelling, my paintings, and the invaluable support of my Chumash friends and family. It is my hope that my work serves as a bridge between the past and the present, allowing others to learn from the rich tapestry of my cultural heritage.