My investigative process employs diagramming, mapping, plan/elevation, cross section, and a translation/retranslation inquiry—allowing my images to be intuitively found, extracted, analyzed, shifted, and represented in various arrays. These clarifying systematic formulas are sometimes borrowed from meaningful sources (such as London Heathrow Airport) but often are subverted for my own intentions. Serial arrangements appear throughout my paintings, drawings, prints, and sculpture, as my conceptual abstraction perpetuates and reinvents the components of my visual vocabulary.

There is a meditation within the making of my art often influenced by my travels to specific sites (whether Effigy Mounds, Iowa, or Isafjordur, Iceland). Applying wide sources of arcane knowledge, the work is evidence of mapping an experience, place, or intuition—a type of spatial graph that is also structural.

Critic and writer Charles Dee Mitchell has described my work as a “drawing that works itself out in front of you.” The subtitle Octagon Vibration Series is partly in homage to the Swiss artist/ healer Emma Kunz (1892–1963), who harnessed spiritual energy and used a divination tool in her abstract drawings.