My paintings use references to architecture to project a sense of dislocation, change, and compression of information. Like an archaeologist, I begin my process with the photographic documentation of construction and demolition sites I visit. Using a computer, I collage multiple conflicting points of view. The states of transition, dilapidation, and rejuvenation evident in these places––their texture, physical structure, color, and light––provide the foundation for my images. Forming and deteriorating synapses are reflected in the fragments, fissures, and residues on the paintings’ surface. The painting space is a temporary proposal or stage for forming a sense of place.