Though my work is not intended as a purely aesthetic experience, I want my paintings to have the power of attraction; my precept is that the more visual stimuli you provide, the better the work’s reception will be. I leave interpretation of the underlying content up to the viewer. To speak through my paintings, I employ layers of art-historical references, connotations pertaining to cultural problems and ambiguities, and the perceptions and misconceptions of an object-based/driven society. Just as the Bauhaus aspired to a utopian structure of societal rationalism in the creation of a uniform, rational aesthetic—their products appear to have been made in a factory but in fact are hand-built with integrity—I have made it a point to retain the laborious traces of process. This is most apparent in the stencil patterning that appears in the greater portion of my paintings, showing the individuality of the hand, even when the pattern is molded to maintain a level of uniformity throughout.