The interplay and juxtaposition of the elegant with the banal is at the core of my practice. I set parameters for dealing with the concept of time and fragments of memory that take form, embed, and manifest themselves within a material physicality. At times there is an impulse to let the materials breathe—to fold, fall, and crease—while at others there is a desire to suffocate and contain them. My process involves a performative aspect of unveiling and concealing.

I use a language of hybridized abstraction, where diverse formal elements contradict and complete each other. The spaces I depict within a painting or installation are dense, and at times antagonistic. I am not interested in making work that is easy to view. Instead, I strive for a language of excess, where a maximalist, nonrepresentational vocabulary creates a challenging space for the viewer to inhabit. By provoking my audience to reevaluate their relationship to viewing, I confront the typical relationships we have to image, architecture, and environment. By working