Everything on the surface isn’t what is seems to be. It is a method of social survival through revealing and masking portions of ourselves and is the core of my work. My work emphasizes that specific aspect of the human condition that lives in all of us. The condition of building one’s self through exposing specific parts of our identity or appearance, while keeping others deeply hidden. The condition of finding new applications of our interior unique characteristics amid the constantly changing exterior world.  Experiences, time, and cultural shifts are all influencing factors that become layers in my paintings. Through found objects from the domestic and personal domain as a substrate, my work becomes evidence that our past will always be a part of our present in order to formulate our future.

My work emphasizes the tactile quality of paint, and the notion of paintings as physical beings. Ultimately the paintings create a way to draw close attention to the unique topographical modulations of each surface, which encourages the viewer to engage in an intimate experience of observation. By provoking my audience to reevaluate their relationship to viewing, I confront the typical relationships we have to image, architecture, environment and identity.

I maintain an open approach to creative exploration, giving myself agency to mix and remix materials, themes, and content. Being a process driven artist, I view my creative practice as a scientific experimentation. Exercising the right balance of control and variables permits an individual level of artistic response. The conversation between control, variable, and inspiration is the action that builds the tension in my work of what is seen and unseen.

My work developed its foundation in the tradition of painting and is now invariably moving into the language of sculpture. I enjoy walking and blurring the line between artistic genres. To distort the depth of field for the viewer building layers and limitations for myself and audience. I capitalize on calling to attention the difference between materials in each layer. This examination of difference allows the viewer to investigate their own personal layers and how they are viewed from the exterior.

That is how my work differentiates from many references in contemporary art history. Even though my work may be rooted in the philosophies of minimalism, it transcends to the current with the exploration of the development of self. Through this exploration I still savor the aspect of possibility itself. I translate the physical experience, information of my surroundings, and experiences into three-dimensions. I want to move paint in a way that it will move me and the viewer.