My work pushes the boundaries and possibilities of painting by exploring the realms between the two- and three-dimensional. The works keep intact the vitality that wet paint possesses as raw material. Flaps of paint that still look wet due to extremely glossy surfaces appear to defy gravity hanging up instead of down. Paint protrudes off surfaces, appearing to ooze or flow as it makes its departure from the two-dimensional picture plane.

My process usually involves pouring latex paint onto plastic sheeting. I work with a high level of precision in my pouring techniques while simultaneously being open to the unexpected. After the pooled paint dries, I peel it off the plastic sheeting, and use it as a skin or fabric-like sculptural material. This is probably the most satisfying part of my process - peeling then sculpting this material I've created, a material that somehow always feels newly discovered and fresh.

Though my work embodies a sense of the otherworldly, I am interested in how the heightened physicality of the paint may generate corporeal resonance, and elicit desire or longing.

Every painting in this grouping is constructed entirely of latex paint. The structures and forms are created solely by the paint, without use of substrates.

I work to push the physicality of the paint in an attempt to start a conversation with the viewer about their own sense of being. My goal is to create hyperphysical objects that encourage the viewer's awareness of their own physical presence and a feeling of being grounded/rooted in the moment.

Within the past few years, my paintings have become increasingly sculptural and have naturally evolved into the realm of installation work. My installations are inspired in part by Mark Rothko’s color field paintings, James Turrell’s technique of painting with light, and Anne Truitt’s column-like sculptures. In my large-scale installation work like Jasper and Midnight Oil, there is a deliberate intersection between light that exists as an ethereal and fugitive medium, and the materially tethered nature of paint. The spectral color fields emanating from the metal leaf shift as the viewer/participant moves around the space. This reflected light and the hyperphysical nature of the paint itself work together to create an otherworldly space. The components work in unison to form a painting executed in space in which the viewer becomes a participant.

I view the models not only as sketches for full scale installations, but also as standalone artworks. There's a subtle magic in the blurry border between small & large; between physical & imagined. Some of these installation models have become life-sized installations while others have not.

The Four Corners installation model included here represents a project soon to be in production. Once realized, the installation will invite viewers to walk into a painting executed in space and to become participants. Each of a room's four corners will house a hulking, geometric, column-like structure. The four sculptural paint compositions enrobing the structures will employ a unique method of construction, color palette, and aesthetic theme. While I continue work on smaller scale paintings, I am simultaneously fleshing out plans for this room-sized painting and working to secure funding for the project.