What lies between observation and abstraction opens possibilities for seeing what would otherwise be unknown. My work explores themes of time, memory, and translation. My experience from working on archaeological sites and building theater sets guides this curiosity in the temporary aspects—artifacts, gestures, and structures—of what we make and what we leave behind.

I am interested in:
locating
apprehending, then releasing
the resistance of a color, then surrendering to it
a hard edge as it softens
the slight peeking that comes from covering
that space between the wall and object
when shallow and deep appear the same
what it is like to look through fog
when a mostly matte surface shifts to a little tinge of gloss that hangs out at the edge
that place between misplacing and finding
how white can be both warm and cool at the same time

My recent paintings reflect an inquiry into process, perception, identity, and the sensory experiences of place. They evolve from expressionistic passages of gestural brushstrokes, drips, and splatters to a progressively more refined pattern of overlapping masked geometric shapes. The initial layers are increasingly obfuscated, but never entirely disappear. I am intrigued with the rhythmic palimpsest of accumulating layers of paint, and enjoy thinking about the resultant visual language as metaphor for identity seen as a collection of actions over time.