I work through process-driven layered paintings and with provisional maquettes. My imagery is in constant flux, but materiality is central to my practice. I respond intuitively to the unpredictability, immediacy of paint and painting.

The worlds I depict are imagined or half-remembered, bringing forth a fragile reality. Fragmented, humanoid-like figures and abstracted forms blur together, suggesting both an internal landscape and external uncertainty. The paintings endure clarity and ambiguity, presence and absence.

For me, paint, painting, and paintings are forces able to charge, open up, strangle, tell a story, bounce joyously, conceal and reveal, twist and surprise, change points of view, drip, fall apart, to be real and illusionary, complicated and simple, smooth and rough, go over, under and through. They can embody all of these qualities simultaneously, surpassing presupposed contradictions and impossibilities.

I use maquettes, constructed from common materials such as cardboard, chopsticks, brown tape, and insulation foam. They possess a makeshift quality that speaks to impermanence. The maquettes serve as a reference material that is tangible, casts shadows, and can be observed. They are my counterpoint to painting, which can be an unruly process.

This process is guided by memory, literature, and painting tradition. I draw inspiration from Sienese painting, Renaissance art, novels, plays, and theater staging.