Flea markets and antique stores provide my image bank. Eclectic sources such as old cookbooks, dictionaries, memo books and other forms of printed ephemera suggest and inspire new ideas. I am interested in the different ways the juxtaposition of a variety of these recognizable images can be altered in meaning and narration by new combinations and compositions. I use the computer to scan and manipulate this storehouse of images. This allows me to quickly and easily move items, play with transparency and scale, as well as color.

This is about oppositions to avoid concrete meaning. Paint in opposition to painterly. Icon absent of definition. Absolute in opposition to spatial. Gesture in opposition to rigidity. Suggestion versus evasion. System defines random.

My background in graphic design, and particularly my preference for conceptual design, provides the framework for my approach to art. Design is meant to manipulate oneís perception, to draw in the viewer. Good design allows the viewer to submit his or her own interpretation. It becomes then an individual experience. This objective I seek to achieve in my artwork. My focus is the recognition and celebration of that which is ignored, invisible, and overlooked in everyday life. As relics and symbols of the American Myth, and in the tradition of the realists, they are thus acknowledged.

If I devote enough time and energy to these things and produce a substantial quantity of them, at least a few should work. I hope.

My work investigates my changing perspective on places that are in perpetual shift such as the home, the landscape, and the complexities of human relationships within these spheres. I am interested in the continuous flux of day-to-day uncertainty. There are certain social conditions gestured to in these works, which are about complacency and the inevitable shock of abrupt change and violence. The paintings are sometimes improvised, at times calculated, and always depict an environment charged with anxiety.

I now live in a small town with quiet streets and few sidewalks. These paintings document my surroundings, and the places they record are located between here and there, security and loss, real and remembered. Ultimately, I am interested in how the familiar so easily becomes strange.

As in earlier works, the ìProject for a Revolutionî series takes as its point of departure, the moments of intrigue when the fabric of mundane existence is torn away. In back alleys, rooftops and train stations, conspiracies are made, relationships are formed and plots are hatched. Through a set of threatening or inexplicable encounters, the protagonist and his counterpart move though an urban landscape, participants in an ambiguous narrative and caught in the moments of pause between action and reaction.

The ideas and concepts that are represented in my work are fueled by experiences and observations in my daily life. I am most inspired by the simplest of these details and moments. It is this awareness that has always caused my work to be created abstractly. My imagery and mark making obscure the obvious and give the work a spiritual presence. My focus has always been in the various types of printing. I began with screen printing, which led to the study of traditional printmaking methods, such as etching, monotype, and lithography.

I am fascinated by the layers of chaos and order that I see everywhere. It's the relationship between the chaos of blizzard and the ordered structure of a snowflake. My paintings serve as a metaphor for this effect.