My thoughts and artistic process tend to push materials and logic to their extremes, to the point where the material or the logic reaches a surprising and absurd conclusion. Stacking, gravity, and the confines or edges of the rectangle have been recurring themes in my work for several years. I think of substrates (and paintings in general) not just as windows but also as literal supports and pedestals for the paint. In some pieces, I use substrates referencing minimalist sculptures only as supports to be decorated with shit-shaped oil paint. I squeeze paint

In this ongoing series, I layer pieces of paper and fuse them together to form a three-dimensional whole. I begin by painting and printing open fields of color onto individual pieces of paper, which I then randomly glue together, creating a rectangular stack that I tear into by hand. As I tear into the piece, color combinations emerge, creating a spontaneous composition derived from a subtractive process. The tearing allows indentations or negative space to form, which become the focal points.

As one of the world’s oldest and most ubiquitous technologies, textiles are a ripe locus for the discovery of simple compositions. Whether it involves the piecing of a quilt, the pattern of a jacket, or the seam, fold, or drape of a shirt, it is cloth’s seemingly banal or mundane quality, coupled with its relationship to abstraction, that currently motivates me. My fabric-based constructions are indebted in equal measure to abstraction and textile materials and processes, and my most recent body of work concerns thinking through these materials and processes, using abstraction

My recent work takes as its starting point ambiguous locations, both familiar and unrecognizable. These are views of wooded areas, nondescript parks, and edges of city streets that could be anywhere. Dull and flat color accompanies unrefined handling of material in my attempt to make a work that is at once brutal and serene.

An obsessive fascination with impermanence manifests in my work in many ways. The luminous instances of light and color one can see in gems, through prisms, and in refracted light are examples that drive me to make paintings that evoke these kinds of phenomenological events, albeit materially. I find pleasure, wonder, and reminders of mortality when observing these instances. Everything flickers and nothing lasts.

Being alive is strange and buzzy. Most of the time, I feel like an overly sentimental bipolar bear or something, stomping around hoping some golden will stick to me. I play with toys and mistakes. I grab at dirt and discard in an attempt to fashion some semblance of a feeling I once had or cull some poetic out of a rag or stick. The things I make are highly responsive and seem to arrive at a disjointed space that sits on top of my experiences. I am concerned with the sense of the thing and what it feels like. I want to access abandonment with my hands, letting them run

Craft is a form of conscientiousness. For me, the verbing of craft has always been a way to refute the either/or binaries that have circulated in culture. Using collage as a system to put together crafted material forms bearing an array of cultural references, I acknowledge that my work questions its own mythology and history. I reference the sampling of the database, the structural forms of modernism, grand narratives of romanticism, and the pictorial space of medieval works. I accept and take pleasure in the overlapping histories of textiles, design, and painting without

The mugshot portraits are my latest effort to combine pop art iconography with photorealist painting. With this series, I have gone back to the roots of photorealism, a genre that emerged from the pop art movement of the 1960s.

The subjects of the paintings are notorious criminals whose mugshots are often seen in various media outlets, becoming a familiar part of our popular culture. I enlarge the scale to portray the subjects as larger-than-life characters, as an observation and reflection on our voyeuristic, violent, and pop-culture-obsessed society.

The primary medium of this body of work is duct tape (also known as duck tape)—pressure-sensitive adhesive material that historically evolved from strips of cotton duck to the more commonly recognizable scrim-backed tape that we all know today. By using this material, I draw on the tape’s historical lineage with canvas as artist material as well as its cultural and literal plasticity as a “fix-all” material. Notions of scarification and entropy are evident in the scrapes and abrasions that cut into the works’ surfaces, and expose my aesthetic allegiance

In my landscape paintings, I use overlapping and contradictory information in order to incorporate multiple meanings, inviting the viewer to become an active participant by interpreting the work. Many of my paintings feature potential destinations in the far distance, welcoming viewers into deep illusionistic space while simultaneously resisting their entry with passages of paint that sit on the surface of the canvas or panel.