I make abstract ink paintings on Yupo that reference organic forms such as the geological, physical, or cosmic, as well as objects and surfaces I see in my urban environment. Because Yupo is a non-absorbent surface, natural processes like evaporation play a large role in the finished pieces. When dry, my painted forms often give the impression they are still fluid, or captured in transition. They may appear almost weightless or conversely, heavy and solid. I feel the work is most successful when it possesses properties of multiple states of matter simultaneously. I often leave the white background unpainted because I am interested in freeing my forms from context and spatial clues, abstracting them and forcing attention to and an examination of the surface. I want scale to be in question, causing viewers to wonder whether they are looking at a macro or micro view, something seen through a microscope or a telescope. Surface quality, texture, reaction to light, and value shifts are integral to my work, as is the process of mixing different materials and watching them react. I use fluid inks and paints on a slick plastic surface because nothing gets absorbed and I like the juxtaposition of the fluid media and organic forms on a uniform, man made surface. The results can appear textural, dimensional, reflective, layered, or photographic, but are largely smooth and flat, vulnerable on the surface.

My paintings are often mistaken for photographs because of the nature of the way the ink dries on Yupo.  Photographs of my work often get confused for photographs of sculptures because of the value shifts and perceived dimensionality as well as the white space I leave around the painted forms. This ambiguity of media and materials often leads to the most commonly asked question about my work: What is it? I want the answer to be that it can be many things at once, the way our natural elements change depending on how they are combined under different circumstances to make up our world. I am open to the multiplicity of potential interpretations of my work and I hope to inspire curiosity, imagination, an association with the familiar, and an embrace of the abstract.

In my photography I am drawn to repetition of forms, geometric and organic shapes and lines, bright color, and surfaces that draw me in for a closer look. I pay close attention to sidewalks and walls and seek the traces of humanity and contact left behind in my urban environments. I capture decay, rust, stains, layers revealed or added, and other evidence of the passage of time. I do not often include the human subject but feel much of my work is related to isolation and disconnection in a visually full and overstimulating world.