I am a frustrated scientist collecting specimens of the organic and inorganic worlds, motivated to create art by an endless curiosity for the natural sciences, the systems that govern its functions, and the relationship of those systems colliding with man's coexistence and interference. These relationships are explored through painting, drawing, and site-specific wall drawings of biomorphic shapes.

My fascination with meteorites came at a young age, mostly due to the fact that they are both the oldest and furthest traveled objects around. I liked the idea of bringing this huge sense of time and space to the dialogue of contemporary art. After some attempts at depicting them in paintings, I decided to begin a series of paintings by collaging actual slices of various meteorites into the painting as central subjects. I then surround them with thick layers of paint and marble dust to create an otherworldly surface image that is ambiguously primordial or futuristic.

4 Forest Lessons Lesson 1: Standing quietly in the woods I glimpse a memory. I briefly understand how humans lived as children of the wilderness. Here, on the leaf-covered path, space is not divided into vast, hardened geometry. Lesson 2: Our market obsessions, our blind anticipations over that next great commodity, can indeed be interrupted. All you have to do is quietly consider the contours of a great tree, or really listen to water moving along a bank. A tiny leaflet falling on your sleeve may even break the spell.

No ideas but in thangs.

My recent work explores the problem of knowledge and the limitations of Reason as a means of understanding both the internal and external world. In particular, I am interested in the mundane ideals that we encounter in our day-to-day lives, and how they structure our understanding of our physical, intellectual, and emotional worlds. In my work, I attempt to achieve these ideals through simple, repetitive, and labor intensive projects, which are drawn from the fundamental processes of science and mathematics: quantification, addition, division, measurement, mapping, and reproduction.

With these drawings I am loosely interested in and informed by the frontier theory paradigm: migration of the misfit, and the magic, mystery and perversity of nature. For me this perversity is closely related to the concept of the sublime and frontier theory. Iím interested in the lives of misfits affected by these conditions. I wonder what fine line separated the thoughts and actions of Henry David Thoreau and Ted Kaczynski.

My recent drawings explore humankind's ongoing fascination with ghosts, spirits and the unknown. These drawings seek to question why most cultures create and perpetuate tales of ghosts and spirits. Some of these drawings are based in the histories of actual locations surrounded by myth and legend. Many of the stories depicted are from places I have personal connections to, including Bonaventure Cemetery in Savannah, Georgia and Stull Cemetery in Stull, Kansas. These works explore ways in which people contact an unseen world, such as the use of ouija boards and other various ceremonies.