My work acts as a record of my free associations. As a result, pieces often track a chain of short-range logic from element to element but as wholes read as absurdities or impossibilities. The process of making is an impulsive, mischievous combination of images that takes on personal significance.

When moving from exploratory drawings to painting, the transition in scale and material leads to changes in the way images function and ultimately alters what they are. I follow cues given by the interaction of subject matter and materiality. Spontaneous elements coexist with more considered passages to create friction inside the picture plane; materially, paint as itself can define the space of the picture with as much credibility as more traditionally developed imagery. This aggregation prevents the image from cohering too easily as an alternate reality even as an allusion to that structure is made. As a result, the work presents the viewer with an uneasy sense of the continual modification and arbitrariness that is part of the making of a painting, both inviting and repulsing entrance.