I am interested in the ‘thinginess’ of paintings, materials and subjects– their existing emotional registers of affect and physicality, but also the current that emerges when two ‘things’ find a point of contact. I want to embrace the discordant instability of representation, truth and matter. 

To make my paintings I pull materials from disparate sources: the street, advertisements, out-of-date printed publications, instructional booklets, safety manuals, religious tracts, artist monographs, the studio floor, etc.

I am a greedy painter, but I have no desire to possess, distill, or define the materials I accumulate. I want little authority. Instead I want to paint in a way that lops new windows and holes for looking. I want to leave many doors open; to forgo the hermetic image, if there ever was one.

I combine the things I find through a range of techniques such as cutting, pouring, strapping, collaging and washing. I think painting is just as much about the mind as it is the body. See: seepage, sewage.