Many cultures have literary or religious traditions that recognize life’s duality, often involving parabolic characters whose symbolic actions or attributes create conflicting meanings. I capitalize on this concept by using broad cultural references in cryptic tableaus inspired by my emotional states and interactions with others. I often depict my characters in the moments of contemplation that immediately precede action; I set them in depthless landscapes of saturated color washes, leaving each character’s agency and circumstances to be defined by viewers.

My work is based on the spiritual residue and shared memories that are left behind by the built symbols of our presence on Earth. Telephone poles, railroad tracks, stairways, and buildings are shared across generations. I am interested in what is remembered and forgotten as these symbols occupy the spaces we create and the spaces in between which have been created unintentionally. Thousands of people walk by and through these spaces, each an individual with their own experiences. In the same room where an old couple repeats words of love, a young man once passed away.

Younger. Thinner. More popular with friends. More successful in business. More attractive to lovers. Looking better than ever, conquering your first wrinkle, perfecting your body, starting over, fighting loss, ending suffering.

The urban landscape has been the focus of my artwork since I moved from New York City to Maryland in 2003. I’m fascinated by the endless patterns of colors and shadows produced by the changing light throughout the day and even at different times of the year.

Whether it is interpersonal domestic relationships or governmental structures, power struggles are always present in our lives. In my work, I question sources of power and how they effect our identity and emotions. I use art to make the viewer aware of her place within these hierarchies. I often use a combination of found and handmade objects as symbols to express these ideas, treating these materials like paint.

My current body of work explores the subject of manufactured landscapes, specifically the landscape of surface mines. I consider these landscapes both as sites of commodified nature and beautiful archeological relics of our movement across the land.

My work considers the increasing levels of entropy in the world. The paintings refer to signs along the way, in various sites, connected by air and water. These indices point to a time and place in which the distant past, our current, and a rapidly advancing future will meet. These signs are monuments to a future in which they will no longer exist, monuments to futures that may not exist.

My work is inspired by personal and communal experiences of nature. These works are based on the feeling of being, sleeping, and dreaming outside; of moving like the wind through the grass; of dreaming like an elk; of flying like a bear. The beings mimic cycles in nature, and they move seamlessly between self and environment to create an open-ended narrative. The figures/creatures are upswept on invisible currents; they listen and move with the natural world. Here, the organic is allowed to reveal itself as a magical space.

I am interested in the beauty of failed order: processes of rejuvenation and oscillation, patterns that come undone, precarious moments and how the humorous can hint at the profound. I extrude, pour, spill and drip paint to create highly tactile surfaces utilizing the plastic qualities inherent in the medium. These processes create works that evoke a state of flux, a suspended moment, tinged with absurdity. A high-key color palette combined with varying degrees of translucency reinforces the sense of malleability and fluctuation in the work.

“Life shrinks or expands in proportion to one's courage.” Anais Nin I begin by taking and collecting photographs. These photographs are made into Xeroxes, and printed to the vinyl record support using a gesso transfer method. The vinyl records provide: a uniform dimension, challenging circular composition, and a conceptual reminder of an era of stable but finite information recording being superseded by an era of instable yet near infinite information technologies.