Artist statement, bio, and the training behind the four disciplines.
My practice started as a way to prove to myself that I was actually doing the things I said I cared about. Four years ago I started a daily practice log — one line, every day, for painting, piano, voice, or writing, whichever I touched that day. It wasn't glamorous. Most entries are boring: scales, a bad sketch, ten minutes of nothing much. But looking back at four years of it, a pattern showed up that I didn't plan: the four disciplines started answering each other. A painting would fail and I'd fix the mood of it in a poem instead. A piano piece that wasn't working would get simpler until it sounded like something I could actually sing. I don't think of myself as a painter who also plays piano, or a writer who also sings. I think of the practice log as the actual work, and the paintings, pieces, and pages as what's left over when you do something enough times that it starts to mean something. That's what I want to keep doing — not chasing a finished style, but staying in the habit long enough to find out what it turns into.
I've kept a practice log since 9th grade — one line every day for whatever I worked on: piano scales, a stanza, ten minutes of gouache, a scratch vocal take. Some days it's one line. Four years in, it's the only proof I have that I actually do this stuff instead of just meaning to.
I'm applying to five programs this fall — two conservatory-adjacent, three liberal arts schools with strong studio and music departments.
No awards or exhibitions listed yet — this portfolio is built around a documented practice, not accolades. Full course transcript available on request.