This body of work is an inundation of repetitive imagery and doublespeak in a digital culture. Entwined by a rigorous formal complexity, the work pools the daily and temporary stock of flashing images extracted from a rapidly changing environment. Compositions for the paintings come from photographs taken of tabletop still-life arrangements that include archived news clippings and personal ephemera. These are torn, cut, and loosely placed. Cropped images are arranged into layered cells and contain a broad range of gestures related to the current political climate. Sometimes offering a nonverbal display of dominance. In Critique of the Everyday, Henri Lefebvre suggests that a work of art acts as a “play-generating yeast” in the everyday; it breaks down as it initiates a process of fermentation, agitation, and disruption.