My latest work features large-scale, multi-panel paintings, each created on site over the course of an entire day. The intense wet-on-wet cumulative process underscores the complexity of capturing firsthand the multidimensional and ever-changing experience I have at that specific location. Formally, the works are as much about the materiality of the paint and the physicality of the painting process as they are about reconciling the illusionist possibilities of painting with its true abstract nature.

My paintings examine the visual relationships that mediate our experience, particularly our response to destruction. In Spillover, this refers to the ways human beings organize and shape the landscape to achieve foundations that are destined to fail. The paintings play with the perception of distance to bring abstract surfaces into being, and thus describe a space between seeing and knowing. Because painting possesses the unique ability to impart the illusion of moving space and a fixed impression of deep space, these qualities coupled with the geometry that orders our

A page out of a notebook, with its blue lines and spiral bound edges, is a familiar image. This is my primary vehicle in utilizing a connection with the viewer. The paper is enlarged to give this common object a sense of importance and to create a new perspective. The text and images placed upon the large page deal with the influences of American culture and how it has shaped my life. The paper is torn, crumpled and folded to implicate a tangible history and to suggest the creation of an object, thus expanding the definition of traditional drawing.

This series of disquieting allegories explores experiences accumulated during adolescence. While imagery and color palette are whimsical, the juxtaposition of visual elements suggest stories more mature in nature. Layers of meaning imbued with humor, solemnity, and sexuality filter through the images, but are not easily deciphered. The work is based on subject matter in both the realm of memory and fantasy.

I construct a world of human relationships expressed in cubic imagery. Of Cubic Proportions is a body of related works that explores geometric and mathematical ratios. Through proportional harmonics I generate interactions within the paintings that establish the scale and placement of the subject. I use one-point perspective, squaring of planes, and color juxtapositions to create the illusion of depth in some areas and spatial ambiguity in others. My chromatic relationships make use of complementary and analogous colors while eliminating black.

Incorporating fiber art in my studio has opened a direct path to the major influences that have been informing my work for many years. Motifs and images from ancient textiles and Indigenous folk art reimagined through these pieces connect directly to the source of inspiration. The work becomes a devotional practice and an expression of appreciation, adoration, and connection. These sources offer aesthetic forms to explore in search of a deeper personal and universal expression. They reveal to me a powerful tension between an innocent, beautiful naivety and our relationship with

I am a frustrated scientist collecting specimens of the organic and inorganic worlds, motivated to create art by an endless curiosity for the natural sciences, the systems that govern its functions, and the relationship of those systems colliding with man's coexistence and interference. These relationships are explored through painting, drawing, and site-specific wall drawings of biomorphic shapes.

My fascination with meteorites came at a young age, mostly due to the fact that they are both the oldest and furthest traveled objects around. I liked the idea of bringing this huge sense of time and space to the dialogue of contemporary art. After some attempts at depicting them in paintings, I decided to begin a series of paintings by collaging actual slices of various meteorites into the painting as central subjects. I then surround them with thick layers of paint and marble dust to create an otherworldly surface image that is ambiguously primordial or futuristic.

4 Forest Lessons Lesson 1: Standing quietly in the woods I glimpse a memory. I briefly understand how humans lived as children of the wilderness. Here, on the leaf-covered path, space is not divided into vast, hardened geometry. Lesson 2: Our market obsessions, our blind anticipations over that next great commodity, can indeed be interrupted. All you have to do is quietly consider the contours of a great tree, or really listen to water moving along a bank. A tiny leaflet falling on your sleeve may even break the spell.