The notion of liminality can be used to describe a uniquely queer experience. Transition simultaneously participates in and departs from the ritual of gender adherence. If stasis reflects the norm, movement necessarily acts as disruptor. Re-entry into the social order on the opposite side of the binary could well go unrecognized, with or without intent, as actively initiated change. Equally legitimate is the possibility of comfortably occupying a space between states. My work transmits from that place in between. It’s at home in ambiguity. By queering viewer proximity

My work has many different references and they change constantly. Some of them are images such as fertility gods, early modernist sculpture, minimalism, and the natural world.

My main interest is in the way amoebic and archetypal forms change their appearance and gain new meanings through different painterly solutions.

My work turns the structures of video gaming into a lens for analyzing the world. “Levels,” “bosses,” “items,” are words that dominate virtual entertainment. These labeling systems delineate and provide hierarchies reminiscent of both ancient mythologies and corporate structures, while highlighting the arbitrariness of their boundaries and naming. The work was initially an effort to gain image freedom in painting, using the notion from video games of “worlds without justification” (Nick Kelman, VideoGame Art, 2006, 143), where I could make random images, reconciling

I create experiences that are slippery, that exist in a state of flux. My lines are quick and calligraphic, echoing landscapes and architecture laced with impermanence. My marks suggest both formation and decay. I use aluminum as my substrate because of its reflective quality, which allows light to play through the paint surface, animating the experience as you move around the room. From one position, the paintings appear solid, glacial, but with a slight change, they disintegrate into abstract reverberations. I want viewers to experience the visceral effect of

This body of work defines the portrait in new ways. The drawings are explorations of emotion, thought, and form, ultimately aimed at creating a new manner of seeing.

My process is instinctual. I act first, and think later. This process allows me to work from a distinctly personal place, while still permitting the work to become universal.

My work is meant to express a visual, abstracted awkwardness. A quirkiness that has haphazardly infiltrated our everyday visualization, discernible in everything from motion pictures and cartoons to our built environment. This awkwardness originates from an unrelenting need to achieve highly realistic imagery through digital mapping, lighting, and animation. Ironically, these motivations have created a strange new visual reality, one whose hyper-realistic nature leaves less room for the imagination. My paintings play on these ideas and glitches, utilizing the

Using a selective economy of mark-making and formal decisiveness, I construct minimal compositions that emphasize objecthood and physicality. I am deeply invested in process, material, and the presence a painting can command. I am interested in formal oppositions and the tension created by combining divergent components.

I make quiet paintings in a noisy world. My work is an intimate meditation on humble objects and the detritus of studio life. I aim to promote a reengagement with the mundane while creating a moment of reflection for the viewer.

Canvas wraps around a support, paint around a canvas, and a blanket around a person. These patterned textile-inspired paintings reflect reverberating actions transmitted by one generation to the next, utilizing layers of pigments deeply embedded in historical associations. Rather than depicting one particular instant, each work mirrors many moments over time.