In my painting process I often achieve satisfying color relationships only after experimenting with several layers of paint. Many of my favorite artists paint vibrant, luminous surfaces with translucent layers, masks, and thin, fluid paint. I am currently working to expand my mark-making and color mixing vocabulary to include these effects. While the learning process is often frustrating, each experiment deepens my understanding and appreciation for my materials. At the moment I am working on several representational paintings– some interiors, landscapes, and architectural scenes– but I intend to translate my recent abstract drawings into larger-scale paintings.

While my representational subjects vary, I am generally interested in how our environments— both physical and ephemeral— are arranged and constructed. The act of painting both accentuates and resolves the complexity of our highly constructed experience. Machines, vehicles, and buildings are structurally complex subjects whose underlying anatomy reappears all over our built environments. Architectural exteriors and interiors dissolve into puzzles of light and color, nesting compositions within frames and directing the eye to flutter curiously between the whole image and its individual segments. Our built environments determine our perspectives, reflect our priorities, contain our systems, and regulate our contact with nature, for better or worse. By focusing on geometry and light, my paintings distance themselves from immediate judgement, making their subjects entryways into extended contemplation and abstraction.