The forms and shapes utilized in my work are familiar ones, often used as the basis of modern Abstract painting. We come to witness circles, squares, triangles, and lines throughout Abstract Expressionism, the Bauhaus, Constructivism, as well as other art historical movements. As this work has since been circulated through the marketplace and media, it has in turn been imbued with additional significance. The forms and shapes rendered in these historical works must not be read in isolation from a broader cultural whole, but rather as part of it. My work, in a sense, is a sort of Modernism without its idealistic ideology. Approaching Modernism fundamentally detached from its historical precedence, my understanding of such is through academia. In developing a relationship to what has passed, I approach painting with personal history instilled with a generational sensibility. A painted square, for example, is not a pure, absolute form; it will always be making reference to something outside of itself. My interest lies in the dissemination of these forms, and how their meaning is always changing and evolving.