Over several decades, I have painted interiors that comment on culture and style. In these works, I envision a brand of collecting without restraint, where the high and the low collide, then marry. There are no people because there is no room for them and they are not needed. Absurdities are everywhere: overcrowding is unabated, spatial norms are tortured, and fine art objects have no sway over the considerably less fine. Oddly enough, the meticulously rendered result is more appealing and inviting than not.

My work addresses the limits of perception and the boundaries of recognition. It involves a process of interruption and creates creepiness. My paintings engage the ways of seeing and knowing that are put into play by the browsing, multitasking, and weird sense of privacy that define my everyday life.

The force that drives the construction of my images is the visual ideal of an absolute equivocality in all formal elements. My work offers an uncomfortably quiet place where endless interruptions and associations can burrow and bloom.

I often use humor to bring attention to critical issues. I find that creating humorous objects often breaks down barriers and invites an open and genuine dialogue between my art, the audience, and myself. My personal experience is transformed into something universal.

My work consistently explores mental and physical health through the themes of healing, comfort, and self-preservation. As a multimedia artist I use materials and processes that speak to my conceptual concerns and often allude to emotional states.

Telling stories is part of how we relate to one another. Shared stories help us create connections to our neighbors and our surroundings. What is more, storytelling—for better or worse—typically involves hyperbole. We tend to exaggerate; we tend to lie.