My work is deliberately formal and multilayered. I employ a combination of printmaking and painting with layers of color, glaze, texture, and pattern. The pieces play with the boundaries between design and texture.

Quilting traditions, oriental rugs, and kaleidoscopes inspire the application of multiple images, fabric-like effects, and the lack of deep space or volume.

In these paintings the edges are firm and significant, but the surface is my primary concern, with layers of glaze over layers of pattern, over collage and stitching; using color, shape, texture and the human face.

I explore landscapes that are reshaped by human intervention. From a conceptual standpoint the subjects touch upon universal themes including solitude, death, anxiety, transience, speed, confrontation, compression, isolation, reflection, fear, and collision. The emphasis on these concerns places the work within a long tradition of Romantic American painting including artists such as Winslow Homer and Edward Hopper. At the same time, my work is created within the context of the present, a time of pluralism in terms of visual expression. My brushwork is informed by neo-expressionism.

By directly engaging the accumulated science fiction cultural expressions of the early twenty-first century, with the most recent speculations gaining scientific currency, THE MULTIVERSE WORKS series examines the paradoxical quest of redefining meaning lost to a time of phenomenal technological progress and supreme dominance of the information media. Using a confluence of visual conditions, I am trying to create an imagined language, which charts the consequential interrelatedness between structured orders and randomness.

I love having bruises that I can touch throughout the day to instigate memory.

Sometimes the bruise is a broken lip; sometimes exhaustion; sometimes the way light falls on skin.

Painting is touching the bruise.

These paintings are about searching through discarded rubble and finding beautiful things. I find pieces of rusted, dented metal debris and I paint on them in a way that doesn’t obscure the original texture and color of the object. I seek out objects that are notable for their unique stains, rust, and damage, and I let those characteristics guide the painting.

My work focuses to a large degree on the synchronizing of seemingly disparate content and contexts, such as rainbows, addiction, home, family, painting, theory, science, computers, and religion. These themes originate from discursive and dendritic research and converge to form an amalgamated self-portrait that is imbued with a statement.

I have been drawing on paper persistently throughout my life, creating images of people, places, things, and ideas. The imagery and ideas in my drawings have certainly changed over the years. However, many of the features of the modern land/cityscape that I recall from my childhood have endured. A reoccurring theme in my drawings comes from our relationship to the manmade environment and the metaphorical language of images.

My process honors a combination of wandering and constructing, where drawing becomes a way to navigate the intersection of physical, theoretical, and imagined projections of the world. These projections might be the world that is to come, the world that has passed, or the world that is in a state of being formed. In exploring these formations, I refer to both organic and architecturally constructed growth, searching for the ideal, or catastrophic, results that might occur when they are combined.

Using the language of abstraction, my paintings integrate collage and assemblage. Acrylic paint is applied to canvas, cheesecloth, aluminum screens, plastic, and rug-hold. These materials are torn or cut into strips, reassembled in layers, and suspended from wooden supports.

My recent body of work—a series of large-scale charcoal drawings—examines ideas of dislocation and exoticism. I explore cross-cultural and hybrid identities through clichéd references to tropical culture together with Pop and Victorian-style elements.

With the aim of questioning notions of place and belonging, I employ different strategies to subordinate the contradictory to a delicate and imaginative order. As the past, the present, the exotic, and the familiar collide, absurd and fantastic panoramas arise.