The paintings I make use anonymous found surfaces as compositional elements. Found sheets of painted luan or marred shards of stainless steel are joined, glued, and screwed to the canvas, 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 processes and creates a space between myself and the world around me, simultaneously focusing attention on painting’s cultural ramifications and the plain facts of their existence. Rather than treating the painting surface as a metaphysically pure, idealized concept, I try to constantly construct it anew, calling attention to the fact that surface is not a singular phenomenon but always a coming together of materials that are made to adhere to one another.

My sculpture is in many ways an extension of this practice. Most fundamentally, it is a response to my desire to introduce multiple viewpoints into the work, which can be limited by the two-dimensional plane of painting. They present not so much a single, holistic object for our appreciation, but rather a sequential series of viewpoints, each both distinct but similar to the others, encouraging our movement around the work so as to compare one to the next. This is encouraged by the intimate, bodily scale of the works, which betray the handling involved in their making, and invite their display in a domestic context, such as on a table top.

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