It is the investigation of relationships, what lies between two images or ideas,
 and how form can affect that relationship, that most interests me. Through
combining multiple images within a painting, I hope to pose several questions:
How do we define what is real? In what ways do we sort and process the
ordinary? By what means do we identify these very terms? For me, such
questions become an opportunity to then consider other subjects like cultural
tradition, the routine of daily life, and the conflict between urban and natural
environments.

In many ways my paintings represent my own attempt to understand the world.
They are evidence of grappling with existential questions, cultural contradictions
and varying definitions of reality. Each painting is an opportunity to visually
order my observations in a way that’s most appropriate to the content I am
considering. While working I often consider the different functions paint can
perform, the multiple ways it can signify an image as well as its ability to act
purely as material. Because of this, I am frequently attracted to images of
windows and reflections, which work as a bridge between the concrete and the
subjective.   

I am compelled by a painting process that involves both perception and response.
 For this reason I work to maintain a dialog with each of my paintings, an
openness to compositional decisions, rather than committing myself to a singular
 idea or destination. I find this way of working suits my subject matter, allowing
me to find inspiration in chance and uncertainty, and the opportunity to respond
accordingly. For me, it is the search for answers, not the answers themselves, that
is most essential to invention.