I am influenced by many things—vintage punk rock, VHS tapes, Internet blogs, World War I battleships, beat-up amps, and custom guitars all play a role in the development of my paintings and digital prints.

For the past four years, the notion of cycle has played an increasing role within my studio practice. During this time, I’ve became interested in how avant-garde movements succeed and fail within popular culture.

My painting and drawing is a visual language that is vague, abstract, clear, arbitrary, deep, shallow, fiction, real, emotional, conceptual, or indecipherable. I tell stories. The story you see might be different from the one I’m telling. I continue every day to speak my language and develop it. I talk to the surface, usually paper. I paint, it happens.

I make paintings that are informed by and react to a culture defined by the digital experience. My work references familiar technology-created images—photography, X-rays, or Photoshop filters—yet is created through the meticulous application of paint alone. By referencing the digital image, my paintings walk the line between something and nothing. They play to our expectations of both the disposable contemporary image and the valued tradition of the handmade.

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Recalling the aesthetics of minimalism and nonobjective painting, I readdress the notion of what is traditionally applied to canvas. Utilizing atypical materials, I mimetically enter them into a painting discourse by acting out a process or action on a surface. These efforts are a “tongue-in-cheek” performance involving painting in which the residue is inherently transient.

My paintings build on the work of my predecessors; Lois Dodd, Marsden Hartley, Paul Cézanne, to cite a few. Shuttling between abstraction and representation, my canvases’ inclination toward pure gesture is refuted by their reference to the natural world, both archetypal and impressionistic. Through the rhythmic play and integration of fragmentary linear and planar elements, I work toward cultivating a contemporary and unique vernacular.

In my Tidbit Series, I utilize informal materials such as found cardboard and product packaging. With minimal elements of composition, process, surface, and color, I transform the banal original materials into a complex intersection of plane and form. Often, these pieces are used as maquettes for considerably larger works. This work is, in every way, a graphic distillation of my longstanding painting practice.

Elements of artificiality are interlaced in cloudlike boulders, palmtree grass, cheetah-print rocks, and rainbow-land formations. Utilizing a roller, stencils, and various printmaking techniques, I create isolated landscapes whose repeating and clichéd symbols of tropics and girlhood fantasies compose an abstract narrative of personal identity.