I am fascinated with qualia and the nature of our perception. My paintings are explorations in Chromoluminarism, ambiguous geometry, and abstract illusion. I often incorporate the Pareidolia Effect (the psychological phenomenon whereby the viewer’s brain organizes abstract elements into familiar patterns, shapes, and forms unique to the individual). Through the device of pareidolia, I intend that the viewer rather than the image provide meaning. By creating a visual field in which image and color blend optically and shift as the viewer interacts with the painting, I destabilize

For these works, I took facial impressions with foil and made paintings of the masks’ interiors from observation. The inverted features become reverse portraits, the inside of someone’s head abstracted into unrecognizable prisms of reflected color. Painting will be dead when looking is dead, when we start receiving all visual input from video transmissions sent to the chip implanted in the visual cortex of our brains rather than through our eyes. Then the physicality of an image won’t matter, because nothing will have physicality. Since those days are coming soon, I

I am looking at systems and how they are used to better understand other fields, how they are employed in society, and what purpose they serve. I look through the lens of cybernetics to find a context for these inquiries. Cybernetics is a human-tomachine relationship that calculates and predicts the outcomes and consequences of systems. This field seeks to find the best solutions and the perfect equation for a particular area, such as ecological or social systems. Often, the goal of cybernetics is to find hidden connections that machines can see and that the

I’d rather not be indoors while painting, so usually I paint scenarios I long for. Over the past several years, I have embarked on three bicycle tours exploring 4,000 miles of American desert and coastline, seeking time away from the spectacle of society as well as learning to be quiet in nature. In presenting these distinctly North American landscapes and playscapes, I imagine distant human pasts as well as potentially distant futures.

Meditation before starting to work is imperative for me. It helps ground me in the present, attuning me to the immediate task of drawing and painting. My process begins in drawing and culminates in painting. Having a varied practice is fundamental. Currently my work involves figuration, abstraction, landscape, humor, friendship, science fiction, soccer, Greek history, and anthropomorphism.

My recent paintings are concerned with geometric abstraction, decoration, repetition, and their intersection with representations of nature and natural forms. They contain collisions of color, pattern, and form that move over and against themselves. These cut-canvas, layered paintings are textured with inlaid symbols, with multiple layers of surface coming together to simultaneously form and disrupt the image. The work explores utopian ideals of beauty and structure converging with the chaos of chance and process.

In a nod to the French postimpressionist painter Georges Seurat, who devised a painting method in which imagery emerged from thousands of colored dots, I have created a series of intimate, detailed, pointillist-style paintings in which I rely on repetition and attention to detail to make fields of flashes, stars, and light. My influences range from astronomy to particle physics; my paintings shift and oscillate between the macro and the micro, between the illusion of light and the visual disruption the images produce when viewed at close range. These works embody a

Color spotting is a passion of mine. Always in pursuit of a “color story,” or the ways color can identify a habitat or encode a culture, I create chromatic equivalents for both physical and numinous occurrences. I gather color clues and create hybridized indigenous palettes that are translated into paintings, drawings, photographs, and site-specific installations. I am influenced by everything, and my work, in turn, is a restructuring of this evershifting vantage point. Color functions as both subject and object in my artwork, and it is steeped in a process of analysis and

In this digital age of slick screens and quick images, I create physical images that promote slow viewing experiences and intimate, tactile engagements. I am interested in the idea of slow seeing. I am particularly interested in how efforts to slow and carefully examine the physical world can connect humans to their surroundings with empathy and compassion.