In my work, I use materials from daily life, objects that have cultural associations and points of reference for viewers. I explore the tension between the cerebral concerns of minimalism and an investigation of humanity: emotional, spiritual, symbolic, and narrative. At its core, the work is a meditation on entropy, time, loss, decay, renewal, and survival.

My background in painting informs my interest in the materiality of paint and how its physical properties can be explored beyond two dimensions. The artwork changes with time; it is a mirror that invites viewers to consider their own mortality. Materials off-gas, break down and decay, just as our own bodies do. Most recently, my study of 17th-century Dutch still life painting has resulted in bodies of work called Vanitas, Trompe l'Oeil, and Singularities. 

In my work, I use materials from daily life, objects that have cultural associations and points of reference for viewers. I explore the tension between the cerebral concerns of minimalism and an investigation of humanity: emotional, spiritual, symbolic, and narrative. At its core, the work is a meditation on entropy, time, loss, decay, renewal, and survival.

My background in painting informs my interest in the materiality of paint and how its physical properties can be explored beyond two dimensions. The artwork changes with time; it is a mirror that invites viewers to consider their own mortality. Materials off-gas, break down and decay, just as our own bodies do. Most recently, my study of 17th-century Dutch still life painting has resulted in bodies of work called Vanitas, Trompe l'Oeil, and Singularities. 

In my work, I use materials from daily life, objects that have cultural associations and points of reference for viewers. I explore the tension between the cerebral concerns of minimalism and an investigation of humanity: emotional, spiritual, symbolic, and narrative. At its core, the work is a meditation on entropy, time, loss, decay, renewal, and survival.

My background in painting informs my interest in the materiality of paint and how its physical properties can be explored beyond two dimensions. The artwork changes with time; it is a mirror that invites viewers to consider their own mortality. Materials off-gas, break down and decay, just as our own bodies do. My newest body of work, Vanitas, explores these themes in dialogue with 17th-century Dutch still life painting.

Installation views and some individual works from solo exhibition at Hillyer Art Space, Washington, DC.

Statement:
In my most recent body of work I use materials from daily life, objects that have cultural associations and points of reference for viewers. I explore the tension between the cerebral concerns of minimalism and an investigation of humanity: emotional, spiritual, symbolic, and narrative. At its core, the work is a meditation on entropy, time, loss, decay, renewal, and survival.

My background in painting informs my interest in the materiality of paint and how its physical properties can be explored beyond two dimensions. The artwork changes with time; it is a mirror that invites viewers to consider their own mortality. Materials off-gas, break down and decay, just as our own bodies do. I ask the viewer to feel raw and vulnerable and to delve into their own emotional landscapes.

In my most recent body of work I use materials from daily life, objects that have cultural associations and points of reference for viewers. I explore the tension between the cerebral concerns of minimalism and an investigation of humanity: emotional, spiritual, symbolic, and narrative. At its core, the work is a meditation on entropy, time, loss, decay, renewal, and survival.

My background in painting informs my interest in the materiality of paint and how its physical properties can be explored beyond two dimensions. The artwork changes with time; it is a mirror that invites viewers to consider their own mortality. Materials off-gas, break down and decay, just as our own bodies do. I ask the viewer to feel raw and vulnerable and to delve into their own emotional landscapes.

In my most recent body of work I use materials from daily life, objects that have cultural associations and points of reference for viewers. I explore the tension between the cerebral concerns of minimalism and an investigation of humanity: emotional, spiritual, symbolic, and narrative. At its core, the work is a meditation on entropy, time, loss, decay, renewal, and survival.

My background in painting informs my interest in the materiality of paint and how its physical properties can be explored beyond two dimensions. The artwork changes with time; it is a mirror that invites viewers to consider their own mortality. Materials off-gas, break down and decay, just as our own bodies do. I ask the viewer to feel raw and vulnerable and to delve into their own emotional landscapes.

Through my creative process, I examine both physical forms and metaphysical concerns. In terms of spatial relationships, my work explores balance, materials, and a sense of presence. Intellectually, I consider the gray area between painting and sculpture, the territory between picture-plane and object, the relationship between viewer and object, the relationship of the object to the exhibition space, and the relationship between floor/wall/viewer. In my most recent body of work, I am using materials from daily life, objects that have cultural associations and narrative points of reference for viewers. My work is a meditation on entropy, blackness, time, loss, decay, renewal, and survival.