My work is inspired by personal and communal experiences of nature. These works are based on the feeling of being, sleeping, and dreaming outside; of moving like the wind through the grass; of dreaming like an elk; of flying like a bear. The beings mimic cycles in nature, and they move seamlessly between self and environment to create an open-ended narrative. The figures/creatures are upswept on invisible currents; they listen and move with the natural world. Here, the organic is allowed to reveal itself as a magical space.

My drawings originate from physical reactions to remembered events. Paying attention to my own bodily state ñ rushes of adrenaline, tightening of muscle, knotting of the gut ñ I generate forms that function as markers of lived experience. My figures and spaces are organic and visceral, imagined biologies alluding to an interior dissected and penetrated. Taking an analytic step back, I arrange and connect, seeking systems of thought, anatomies of experience.

My recent portraits reflect my interest in subjects that I can never personally experience. I work with images of people that I will never meet. My interest is driven by this detachment and the desire to come to know a subject more fully through work alone.

I am interested in the beauty of failed order: processes of rejuvenation and oscillation, patterns that come undone, precarious moments and how the humorous can hint at the profound. I extrude, pour, spill and drip paint to create highly tactile surfaces utilizing the plastic qualities inherent in the medium. These processes create works that evoke a state of flux, a suspended moment, tinged with absurdity. A high-key color palette combined with varying degrees of translucency reinforces the sense of malleability and fluctuation in the work.

My work merges geometric forms with an intuitive, everchanging process. Some of my paintings read as “places,” of both a geographic and psychological nature. In others, geometric forms function as stand-ins for figures. These figures range from precarious and toppling to bold and assured. Each possesses an individual personality, mood, and implied narrative. Most recently, I have become interested in stacking forms and exploring the relationships between them. Hexagons and webs are partially buried beneath chunkier forms that play with weight and architecture.

My recent paintings employ a multiplicity of contours that delineate the edges of things I find in a variety of source materials: glossy documentation of disaster, vintage guides to entertaining house guests, Sargent’s portraits of high society, or color copies of penitent saints by Spanish masters. These sources speak to a heightened order or disorder in the world, or embody a pronounced comfort or discomfort. (These dichotomies compound my own day-to-day experience with the natural order.) By layering observed contours to the point that the identity of the

I'm drawn to the fertile, unstable territory that opens when an established system is disrupted or dissolved, and some other order is improvised in its place. These paintings began as an oblique dialogue with images collected from news sources over the past four years: photos of war, natural disaster, and political unrest. Beyond the obvious content of these scenes, my paintings reference the technologies used in their reproduction and circulation, with deliberately crude, handmade mimicries of digital glitches, pixelation, and filmic montage.

My current body of work is a visual exploration of the contemporary suburban landscape. Cookie-cutter housing developments with strict homeowners' regulations are still a dominant trait of the middle class standard of living. These residents trade individuality, originality and freedom of expression for the safe, hollow comfort of conformity. Landscaping in the planned communities is as contrived as a set design backdrop or Disneyland fairytale. Citizens become interactive extras in a huge "reality show" programmed in virtual mode.

I am an artist working in multimedia technology while rooting it in to the conventional practice of drawing. My work derives from investigations into a grey area between drawing and writing. The physical action of both practices has been a source of compelling curiosity for me. The relationship of the spoken and written word has led me to explore the connection between the drawn mark and the sound produced while inscribing.