My paintings resist the urge to sit still. Appearing direct and haptic, solid and precarious, compressed and energetic, my work exists at the meeting point of painting and idiosyncratic form, proposing questions of perception and categorization. A seemingly straightforward formal abstraction may also appear to be a letterform, a window, and ultimately a physical object that has a unique relationship to the space it occupies and the objects that surround it.

I use the wood shim as a modular unit, and construct each form through an additive process. Imperfections in material and uneven placement necessitate an improvisatory process in which one choice ultimately dictates the next. I use papier mâché to cover the form, creating a lumpy, non-continuous surface. Line and color act as building blocks that respond to the idiosyncratic form of the support. Ultimately, the paintings create spatial contradictions as a way to draw close attention to the unique modulations of each surface, encouraging the viewer to engage in an experience of slow looking.