Painting and drawing engage me. They are immediate, tactile and accessible. Observation of structure, horizon and object-ground hold my interest. As an emerging artist I find it necessary to work in series or smaller bodies of work which allow for experimentation. I freely allow my work to change as I change. I am deeply influenced by new people, a job change, changes in my love-life or just a new apartment. I am terrified of repetition and stagnation in my work.

The older work, my drawings from 2005, are a discovery of working on transparent acetate over Xeroxed photos in order to selectively trace and “color-in” architectural archetypes. They hover between place and placelessness post a deconstructive and reconstructive process. The drawings reference the city; however, the resulting image is more about “mapping” the urban landscape.

The existential seems close at times, specifically in my paintings from 2006-2008. There is desperation to paint furiously. At these points my work is extremely physical and demanding. Layers of wax, medium, and pigments are built up with heavy artillery, squeegees and trowels, over months. Two grounds or planes emerge divided.

When the object is presented in my most recent work from 2009-2010, it is decidedly animated and separate from the ground. New forms are rendered from a vocabulary of imagination, a thicker line, and stacked stripes that reference a flag. Humor, irony, static, 80’s pop culture, dystopia or utopia, are presented through awkward narration and presentation. Perception and current trends advance to reconfigure the subject, the objects, even the hastily painted stripes over day-glow grounds.

Within my process physical forms fade and re-emerge or re-appear transformed post-synthesis. Past works have yielded mappings of the urban landscape or formalist voids. My current work references popular painting trends.