My recent paintings express my own ambivalence and trepidation in relation to the contemporary male’s transition into adulthood. They are made of collages with images appropriated from found photographs of myself and close friends, and their formal and compositional elements suggest an ambiguous narrative.

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.