My work primarily consists of two components: paintings made from underglazed stoneware substrates and metal structures that precariously support these ceramic forms. The metal forms, reminiscent of football bleachers or moonlight towers, serve as rootless utilitarian scaffolds that morph and collapse as viewers’ perspectives shift. Taking cues from the likes of archaic playground fixtures and gently bobbing oil derricks, I seek to subvert utilitarian and industrial structures and materials in service of intentionally theatrical infrastructure.

The paintings, which hang precariously upon the metal structures, do not strive to be beautiful pictures, but rather, collections of marks and images. Creating heterogenous, abstract compositions with trompe l’oeil sticks and imitated gestures, each work functions as both a painting and an object, carrying the traces of its making in the marks left from creating the ceramic substrates as well as the drips and smears that remain on the non-proportional sides.