My paintings are anthropomorphized Epicurean dramas staged across time and cultures. Traumatized baked goods and produce interact with random commercial tchochkes and props in staged interiors or edible landscapes. Backdrops are sourced from 400 years of wallpaper, fabric, painting, and graphic design.

What captures my attention as an artist are ordinary things, artifacts of lives lived and time passing: a folded newspaper, a mosaic tile, a frayed textile. I find visual patterns in these artifacts and re-create and expand on them in a slow, deliberate process that replicates aging and imperfection through cutting, burning, and layering. The paper I choose is essential to the result. I often work on preexisting media such as newspaper and books, cutting away some of the content, but I also use handmade paper to contrast my drawing with pure, white grounds. The intricate visual

I refer to photographs for subject matter. The photographs come from a variety of sources, but are mostly my own. They are a starting point. They vary in subject matter, from people to farmyard animals, landscapes, and still lifes—whatever plays into my current concerns. In the paintings, the image is cropped, manipulated, reduced. Throughout the painting process, I might subtract or add elements, further tuning the composition.

The two-dimensional picture plane of painting has shifted from a standardized formal element to a pattern of behavior. Through executing what is most important to my practice, I encourage the viewer to focus on the structure, where I use traditional canvas-building techniques. The majority of the formal elements are made during the canvas creation stage, before I ever put a brushstroke to the surface. The end result emphasizes sculptural forms and explores the parallel nature of painting and sculpture. A deep respect for craftsmanship manifests itself throughout

I am interested in the viewer’s experience with painting as both physical and optical. I make paintings that merge two- and threedimensional space, creating a type of interactive painting. I usually start a work using repetitive shapes and/or linear structures that are built organically over time. Eventually, larger forms begin to emerge, and the direction of the work unfolds. For me, it is like drawing and painting in space, allowing the work to become. I am influenced by op art, color field painting, and modern furniture design and textiles, among other things. By investigating

I’m a visual storyteller. My recent body of paintings, Flights of Fancy, conjures moments of make-believe and fantasy, telling whimsical and mysterious tales derived from ancient myths and comic-book adventure stories.

Painting is a means of thinking visually in real time. Or giving tangible form to suspended information found through seeing “thinking” and feeling “seeing.” Often, my images develop out of a fascination with the formal properties of specific information— say, the shape of a hull in water, its negative shape that of a wave, affected by weather and the perception of space. My paintings are frequently afterthoughts of previous investigations, showing how variables can be endlessly depicted in service of creating new fictions.

I employ a wide range of media, including video animation, painting, and sculpture, to examine the relationship of the performative body, physical form, and the struggles of authenticity. Through a process grounded in experimentation and narrative, I break down and reassemble structures that explore craftsmanship and object-making. The final constructs reference art history, historical artifacts, and storytelling. They are subtle assemblages that stress the evidence of mark-making, handwork, transparency, performance, and time.

In demolition, commercial architecture that is prefabricated and systematic becomes unique and chaotic. The internal framework is dragged out into the sunlight and momentarily framed by the exterior surroundings. Signs and logos are reduced to the value of the recyclable material on which they are printed; the signifier is detached from the signified. These images are the catalyst for my work.