I spend my time in the studio transforming color and pattern into abstract structures that interact on the wall. Shape, pattern and color move through individual paintings but also make relationships with other pieces across the wall.

My new body of work is topographic. In individual paintings wooden shapes are stacked, glued, and painted. The shapes weave and wind, disconnecting and connecting throughout the paintings on the gallery wall. They imply natural forces both large and small. Whether it be the shifting tides or winds found in nature (Coriolis), or the unfolding of a flower (Helianthus), the paintings are intended to animate and physically move a viewer through the exhibition with the connections they imply.

My paintings blur the boundaries between high and low art and celebrate objects people have made throughout time and across cultures. In the Carpet Paradigm Joseph Masheck says: Art has spiritual value, not because it can be used to escape…reality but because in displacing only a little of the world it can implicate the world so generally. Painting is an ornament of life because, as at best in the ‘applied’ or decorative arts themselves, it magnifies (or celebrates) qualities already present in the material life and world.

My work represents possibility and embodies change. The repeated, interrelated images are meant to allow for a cyclical and cumulative, rather than linear, reading. The experience of viewing the painting becomes a journey that continues to unfold, reminiscent of an ongoing pattern of organic growth. My work represents possibility; it embodies change. Rather than seeking to give answers, I want to invite viewers on a journey that I am taking as well.