My work originates with a temporary sculpture, moves through photography, and results in a painting. I rely on an expanded definition of painting that includes other mediums, used interchangeably and without hierarchy.  The boundaries between mediums are resisted and erased.

I am considering what the history of the luminous surface might mean now that the backlit screen dominates our vision. Cinematic references appear as high-contrast shadows in my work.  Light and color mix with deep shadows to express my sensory reactions to the physical and psychological conditions I experience. Tangible sensations are prioritized.

Still life describes the process since the arrangements are assembled, intensely lit, and faithfully photographed. Once the image is printed onto canvas, I return to the surface with smoothly glazed layers of paint. Used to conceal or exaggerate, the painted layers are critical.

Complete transformation lies at the heart of my work. The dimensional arrangements are temporary and don’t survive the process; this fragility is wordlessly conveyed. Sculptural shapes assume mythic proportions, with qualities that feel personal. Roughly handled, my constructed environments show signs of their making with no attempt to conceal their flawed surfaces. These aspects could be considered metaphors for the human condition. Some works contain a central character, acting within an atmospheric background. A reference to portraiture is subtly implied.

Passing through an endless array of environments that vary greatly in intensity, I am changed by their collective impact. My work sorts this out by reclassifying these encounters as abstracted characterizations.