In my work, I want to focus on the hunger in looking, the mystery in seeing, the expansiveness in not knowing, and the majesty in wondering. In creating meaning between disparate abstract forms, I cull from a visual vocabulary rooted in the imaginary, the real and the symbolic. Most often my visual cues come from the body and the landscape. My recent works draw from a wide range of influences: poetry and semiotics, architectural theory in American History, opposing climates such as ocean and desert; and a sense of wonder and curiosity in the features of the world, both physical and invisible. I am intrigued by the sense of agency (and lack thereof) inherent in appropriating images and text, particularly in the process of using landscape as a point of departure.

Everything in my studio is a building block: the images and collages I create on my kitchen floor, photograph, and then destroy; the particles of decades-old paper and detritus that continue to be passed from each one of my studios to the next; the pieces of graphite that I will lay down on a found image to obscure it and alter its meaning; the written word that appears and vanishes like a ghost narrative. I just try to convince myself, day in and day out, that I do not need any of it and I am closer each day to believing that is true.

It is clear to me that unconscious negotiations with experiences of the real (that which is so ineffable) over many years may be responsible for these forms, their recurrence in my work, and their stability within my speech and visual language. In my efforts towards stabilization of meaning, I have taken on this art practice—where painting, drawing, sculpture and collage often coalesce—as a sort of metaphysical & spiritual practice, a way of making sense and reaching towards greater awareness.