In my paintings fact and fiction coexist. I think of each composition as a dreamscape where memory and media collapse into each other. The figures I paint come from observation—friends and family—or are lifted from cultural icons I admire—a British race-car driver costumed and posed in an empty hall of mirrors or an artist friend in a Kubrick-like interior. I am interested in how these scenarios can reference art history, look back, while also speaking to a contemporary moment. In one painting, the contorted bodies of two figure skaters stretch out like a letterform, bending toward abstraction through color and pattern. In this way my paintings transmit a tension and narrative ambiguity, presenting concerns that are at once formal, social, and existential.