I look at clothing as a container that absorbs our presence, and search the fabric for evidence of intimate human expression. The paintings become a form of documentation, recording surrogate moments in an attempt to grab hold of a mood or interaction that might easily be overlooked. Collecting data on the quieter, subtler activities is comforting, and provides structure to what cannot be defined. Like plotting coordinates in an endless sea, the isolated segments of worn fabric clear a path for navigating the uncertainties of intimacy and estrangement.

My work is an exploration of sexual identity, layered with personal narratives, seductive textures, off-color humor, and bodily angst.

I identify myself as a painter, though I allow the work to cross over into the more physical realm of sculpture when necessary: therefore, the work has the potential to take on a third dimension or depart from the wall as a freestanding form. I typically begin a piece with only an idea for a shape, which is then developed through a series of drawings, monotypes, and painted sketches. I know a piece is finished when it turns me on visually.

In large-scale paintings of amorphous forms that crawl, ooze, and lean tenuously, I translate the physical experience of information bombardment in three-dimensional form. Using colors derived from the visual language of consumer culture—neon pinks and oranges, deep violets and chartreuses—I juxtapose the slickness of the color with the fragile structure and materiality of handmade objects.

The socioeconomic conditions of American late capitalism and the omnipresence of the Internet have permanently altered contemporary global culture. I make artworks that examine, exalt, insult, and reinterpret the dominant market hierarchies and artistic mythologies of this culture. I respond to these conditions by operating within them, using them as a support rather than a hindrance.