My creative and scholarly research has evolved out of an ongoing interest in effort, achievement, and the ethics of irresolvability. Working across disciplines, I focus on the ways in which material and procedural conditions define form and content. Specific gestures have a certain kind of power, and within my work there is a casual and undemanding level of agency, suggestive of an inherent struggle against the pressures of success and a knowing resignation that comes with always falling short. Uncomplicated and seemingly flippant maneuvers impart affect to otherwise static materials, allowing the understated artifacts of my process to serve as earnest observations and subtle critiques of artistic and social systems. Representative of my contentious relationship with the medium, Preserved Paint is an ongoing body of work that addresses the complicated history of painting through passive-aggressive strategies of refutation and deferral. Entering the plastic arena, but not fully engaging, tubes of paint are emptied directly onto the canvas without formal consideration. The work is then wrapped and bound, obscuring the underlying paint and preserving its potentialities.