My paintings are records of transformation. The structures and images present in the paintings are perpetually constructed and dismantled. Inside the individual paintings I am pivoting, creating contextual changes and inconsistencies. Together these elements result in a sense of dislocation.
 
The paintings operate fluidly between conventions of abstraction and representation. I find gratification in discovering contradictions and ambiguities in painting.  Can an element of a painting – the sense of pictorial space or the represented image, for example – act as a point of entry for the viewer and simultaneously be obscured or altered from the expected function?  Can a painting suggest an awkward sense of familiarity yet be filled with formal dissonance or noise to the point of near collapse? 
 
Themes of belief, community, and isolation recur in my work.  If the primary impulse is one of searching, the site of that search is populated by histories, images, and archetypes that are chosen as much for their personal resonance to me as their commentary on the role of the artist or the practice of painting.  The genre of landscape, with its openness to formal invention and mutable relationship to ideology, has occupied a central place in my work for many years.  Particular images also tend to reappear, such as the hermit, the yoga practitioner, the boarded up house, the TV dad, the suburban street scene, music inspired abstraction, and oblique references to the studio.  Importantly, color is the element of painting that most often serves as the initial point of departure and the bearer of the painting’s emotional or psychological content.