This concentration is embodied in the materials I use: oil paint and surface. There are an anthology of gestures that imply human understanding of dimensions, time, and space as a continuum through skewing perspective, color, form, and execution.

Just as there are visualizations before audible language to describe something, many innovations in quantum physics or thermodynamics need accurate ways to describe something visually before it can be further justified; I believe that this can only be achieved in painting by being extremely attentive to the qualities of the materials I use. Just as many facts and principles are analyzed in relationship to one another to explain phenomena, I am interested in using concise configurations of paint to subjectively explain the same experiences.

"Nothing of me is original. I am the combined effort of everyone I have ever known."

My work creates dissonance with multiple physical surfaces, abstract or representational forms, iridescence, and the use of microcontrollers for movement and sound. These mediums allow conceptions of the surface of painting specifically not as boundary, but as a site of oppositional multiplicities of in what is considered reality. The dialectic of form and void suggests another position of reality that is neither here nor there, by alternating between revealing itself as thing-in-itself and purely subjective.