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.

Much of my work explores the use of periphery as centerpiece. Peripheral areas of the paintings, like their panel edges or a swatch of reflected light spilling onto the wall, are often their focal point. Light reflects and refracts as it travels through space; bright colors emanate a strong glow. For example, in Borderlands Installation, the neon red on the reverse of the painting reflects glowing red light against the gold-leafed wall. An atmospheric sense of light is created. There is a deliberate intersection between light that exists as an ethereal and fugitive medium, and the materially tethered nature of paint.

It is my desire to create room-sized installations comprised of paintings that envelop the body. I aim to use the elemental material of paint to create architecture - spaces of connection.

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.

In December of 2010 I began my daily drawing project. The only restrictions for this project are that I create one drawing for each day, and that I can't start over once I begin a particular day's drawing.

Most of these drawings are quick observational studies, visual notes, ideas/plans for upcoming projects, mark-making tests, or explorations of materials. The daily drawings help me to maintain a continuity of practice.