My work often uses anonymous found surfaces as compositional elements: found sheets of painted luan, fragments of plastic armatures, or marred shards of stainless steel are joined, glued, and screwed together, initiating a cascade of decisions that ultimately articulate value and attention.

Cropping, awareness of scale and use of negative space combine with the absorbency, luminosity and superficial variation of these surfaces.¬†All of this activity opens a space within the world around me, specifically focusing attention on painting’s cultural ramifications and the plain facts of their existence. I continually attempt to construct painting anew, calling attention to the reality that surface is always a coming together of materials made to adhere to each other. In this same way, my sculpture is an extension of this practice, but unlike the paintings, they investigate a sequential series of viewpoints, each dissimilar and separate from the next.

Instead of assuming a wholly autobiographical stance, my presence as an artist serves as a conduit through which each individual viewer is invited to participate in the shared activity of remaking our world, here and now, out of the things that exist around and within us.