I am interested in form, the transcendence of form and the coexistence of opposites. Materials derive meaning through transcendence, yet transcendence cannot happen without material. This symbiotic and seemingly paradoxical relationship manifests in my paintings’ synesthetic appearances, with noisy color or odorous agitation, created with a wide range of materials. They demand a first look with their Pop-like aesthetic, but often repel the viewer with explosive chaos and messy detail. I usually begin painting from found-object assemblages I construct. I am interested in how much of the original materiality of the sculpture is retained through my playful and experimental painting process, and how the names of the assembled materials (ie. plastic cow, toothpick, fake chicken leg, moss, etc.) become obsolete in the painting, opening up the world of abstraction. Mostly differentiated images become characters with personalities made of their physical and illusory texture, color, gesture, scale, etc. Each character, familiar yet unrecognizable, creates a transitional space between concretion and intangibility.

Subjective experience is essential to the narrative elements of my work. Meaning is made through playful, ever forming, organic questioning and observing that emphasize the relationships between characters, personal experience, and the present moment. What is familiar? What is each part "doing"? Both the making process and the viewing process are based around this open observation.

My sculpture has surpassed its initial role as fodder for painting. I am fascinated by the manipulation of materials, the push-pull of actual landscape-like space and illusory space, and working with materials that can be utterly concrete or verge on the edges of ephemeral. Due to these aspects, I work sculpturally in tandem with my painting practice, combining my observation of spaces to make new ones, both illusionistic and real, and often miniature and ephemeral.