I am most interested in moments where subject matter and paint collide—when figuration conveys a sense of urgency, and refinement is overruled by directness. At the start, there is no direction, or subject, or context. Painting is about figuring out these things. I question what I make, and the analysis leads me through creation, abandonment, and transformation. The forms emerge and dissolve, becoming embedded or hidden within layers of paint that are deposited over time. They co-evolve with their meaning, recognizing each other as counterparts.

My work currently references aspects of advertising, cartoon, abstract painting, illustration, and digital media to generate spatial and psychological suggestions.

Over several decades, I have painted interiors that comment on culture and style. In these works, I envision a brand of collecting without restraint, where the high and the low collide, then marry. There are no people because there is no room for them and they are not needed. Absurdities are everywhere: overcrowding is unabated, spatial norms are tortured, and fine art objects have no sway over the considerably less fine. Oddly enough, the meticulously rendered result is more appealing and inviting than not.

My work addresses the limits of perception and the boundaries of recognition. It involves a process of interruption and creates creepiness. My paintings engage the ways of seeing and knowing that are put into play by the browsing, multitasking, and weird sense of privacy that define my everyday life.

The force that drives the construction of my images is the visual ideal of an absolute equivocality in all formal elements. My work offers an uncomfortably quiet place where endless interruptions and associations can burrow and bloom.