For better or for worse, I spend a lot of time on my iPhone. I’m usually thumbing through Facebook or Instagram, and most of the time I’m looking at something related to painting. I follow various artists and galleries on Instagram, and when I find an interesting painting, I do a quick screen grab and save the image for later. I must have hundreds of these images on my phone—like everyone else, I’m first and foremost a visual consumer.

Inevitably, my painting practice exists within this larger context of digital media and consumption. I’m interested in the dead flatness of the canvas and the computer screen, and I excavate for marks and strategies that can speak to both surfaces simultaneously. Ultimately, my working process is a means to pose the question of how to sustain a meaningful painting practice within the visual economy.