Infused with lighthearted arbitrariness, my paintings tell amusing anecdotes about love and affection in an often cold and hostile world. Mostly, the work percolates life’s imperfections. The paintings do not take issues of decorum all that seriously, refusing to separate matters of taste from larger questions about “good behavior.” Showing all sorts of sensuous events, from the casual encounter to highly formalized lovemaking (and everything in between), the works are miniaturized schemas of love, desire, pleasure, tragedy, and cosmic disorder.

In my paintings and drawings, I work with found eidetic imagery, often related to the body’s interior workings and cognitive processes. Integrated within landscape-like spaces and volume-like constructions, such images act as debris, foliage, or as the simple matter of fields and objects. I regard my works as mental landscapes: as evidence of thinking and accumulations of thoughts. I look to discrete ideas of ecology, philosophy, science, and science fiction as models to construct works and bodies of work.

In my work, I strive to conjure vibrant, breathing images. Since I deal with figures, their presence, gesture and gaze is key. That is what will initially ignite the viewer's desire to step into that canvas.

In the book "Off the Wall," the authors Lencek and Bosker write, "Wallpaper literally dresses interior spaces as expressively as clothes clad the body. Both integuments function as extremely public forms of communication that speak of their owner's cultural sensibilities, private fantasies, erudition, economic and social status, and psychological state. The papers that ornament the walls of a dwelling provide, in essence, a visual chronicle of taste in flux and an eloquent record of the shifting topographies of domestic utopias."

My work continues to reflect the creation of balance and harmony, however conversely they can be used to aggressively disturb and interrupt a sense of traditionally oriented order. Spatial and perceptual ambiguities and tensions have become my subject. I see these potentials of structural limitations, and use of more intuitive color mixed with chance and deliberation, as a metaphor for general conflict between order and chaos. They are a continuation and expansion of ideas from my previous grid paintings.

We all need protection. Full body gear, or sometimes just headgear. You've got to cover up to survive the attack of words, thoughts, ideas, lovers, haters, needs, wants, and all manner of advertising, and technological stuff. It's all aimed at us. The aim was dead on with MLK and JKF. They were wanted passionately. Did they really want Bin Laden? They always get who they really want. The aim is dead on. I have to drive on though. Keep the pedal to the floor in the IROCZ. In my area, gangsta bullets fly. And these muthafuckers can't shoot straight. Kids die.