My drawings employ rituals, costume, myth, and consumer products as viable readymades to be utilized in the assembly of images. The results play witness to a variety of cultural/historical elements stripped bare of disunion, co-existing in the same picture, with an uncanny sense of harmony. I often work from the subconscious and indulge in sudden urges without the interruption of an intellectual justification.

Over the past ten years I have used research methods and a visual language often used by urban planners, historical preservationists, and architects to explore how people interact with their environment. These methods have helped me interpret and record the many ways people use the world and each other. I some of my past artworks I have explored the interactions of environmental, cultural, and economic systems, using a rigorous study of community maps, historic records, and satellite imagery. Through this process I attempt to picture how an environment relates to its culture.

Everyday enchantments found in vernacular photographs are the axis of my work. The photos I find are accidental art concerned with the mundane, but their representation of common places is far from ordinary. I recover and adopt these lost memories, reproducing them as drawings that look nearly identical to the original. Through the medium of graphite and paint, everything is given a new life and the forgotten is remembered. I am interested in the spiritual and synchronous aspects of life.

I have always been enchanted by the romantic history of humanity’s relation-ship to the natural world. As Florida increasingly becomes a paradise lost, my art practice over the last decade has centered on the Everglades and coastal landscapes I grew up in. Through research, direct exploration, and deeper observation, my artwork aims to reconnect audiences with the wilderness in our own backyards, resurrecting our primeval instincts and joyful animal origins.

My paintings are of an idealized object made from idealized imagery. They represent my anxieties while providing an escape from them. In these paintings I have total control over the environment and its creation. Having no clear idea how to find the security I crave, I create safe places in which I can live for the duration of the time it takes to complete them. The peace I feel while painting these works is all consuming with very little struggle. The intense observation of the image and the close proximity I use in order to capture the detail enhances my sense of intimacy.

As an artist I take an inter-disciplinary approach. Working predominantly within multi-media installations - both site-specific and non site-specific, I create environments in which people can walk into and interact with. Within these installations, I have incorporated video, sound, performance, digital imaging, and drawing. The raw materials I use may range from cotton batting, sheep's wool, and plastic bags to fabricated steel forms. My work is very conceptual and at times minimal and terse.

From 2002 until 2007 I made drawings, paintings, multiples, performances, and audio works based on the failed 1984 movie Supergirl. I saw the movie once. I now organize my studio practice around the play Timon of Athens, written by William Shakespeare between 1605 and 1608. It is generally considered to be Shakespeare’s most difficult and obscure work, and is the only one of his plays not performed in his lifetime. I don’t valorize failure in my work. Rather, failed projects provide me with empty cultural bandwidth within which to house my own subjectivity.

I maintain an interest in exploring the relationship between painting, drawing, and printmaking within my practice. By combining these mediums I begin to combine the three and in return it becomes reminiscent of urban noise. The pieces that are being created posses various tensions, such as man versus machine, labored craft versus gestural, and abstraction versus representation. Through the combination of various mediums I am placing my energy outside of the body and onto a surface that relates to a chaotic mentality.

I find inspiration in a great variety of places: traditional folktales and children’s book illustrations, vintage wallpaper patterns, fashion magazines, nature, and Scandinavian folk art. Often the characters in my paintings come from strangers I spot on the street who, in passing, appear to be on important time sensitive adventures that I don’t understand. I like contemplating and exaggerating the range of possibilities in strangers’ lives, and for the same reason, I create open-ended narratives.

Starting as a landscape painter, I found myself creating mysterious places that hovered on the edge of reality. Filled with lush vegetation and dense forests, I played with scale and space while relying on a base ground of gestural abstraction. These landscapes evolved, as I began to include figures and create scenes dealing with the contradictions of contemporary life where no one is real.