My recent work explores the problem of knowledge and the limitations of Reason as a means of understanding both the internal and external world. In particular, I am interested in the mundane ideals that we encounter in our day-to-day lives, and how they structure our understanding of our physical, intellectual, and emotional worlds. In my work, I attempt to achieve these ideals through simple, repetitive, and labor intensive projects, which are drawn from the fundamental processes of science and mathematics: quantification, addition, division, measurement, mapping, and reproduction.

With these drawings I am loosely interested in and informed by the frontier theory paradigm: migration of the misfit, and the magic, mystery and perversity of nature. For me this perversity is closely related to the concept of the sublime and frontier theory. Iím interested in the lives of misfits affected by these conditions. I wonder what fine line separated the thoughts and actions of Henry David Thoreau and Ted Kaczynski.

My recent drawings explore humankind's ongoing fascination with ghosts, spirits and the unknown. These drawings seek to question why most cultures create and perpetuate tales of ghosts and spirits. Some of these drawings are based in the histories of actual locations surrounded by myth and legend. Many of the stories depicted are from places I have personal connections to, including Bonaventure Cemetery in Savannah, Georgia and Stull Cemetery in Stull, Kansas. These works explore ways in which people contact an unseen world, such as the use of ouija boards and other various ceremonies.

My recent work has been influenced by wind and weather and all the things flying around in the air these days, both seen and unseen. Elements of nature are used as a means of exploring the blurred boundaries between internal and external landscapes. The paintings are part garden, part science lab and part dreamscape, reflecting a world that is complex, alluring, vulnerable and sometimes quite strange. I want to evoke a sense of precarious beauty, a phrase that probably best describes how I perceive the world.

Over time, ancestral forms of crafts appreciate in value, maturing into heirlooms that function as cultural currency and which later, as artifacts, serve as a documentation of the artist and her origins. My work engages this progression in a current cultural context. I am developing a collection of contemporary heirlooms that will comprise my Dowry. The heirlooms re-imagine conventional handicrafts, rites of passage, and ceremonial adornments used to honor the fleeting apex of beauty, fertility or physical potential.

The paintings are done on location from direct observation. The deliberate attempt to put down what I see is affected by bias and experience. I work on the paintings until they seem to have a satisfying reality to them. Sometimes I paint people and urban subjects or have fun with funky art commentary reflective of our time.