In my studio-based painting practice I use abstraction to break down distinctions between system and intuition, space and light, abjection and desire. For me, the lure of the conundrum persists: the canvas is a visually concrete presence yet what accumulates on the surface purports to break the rules of real space and time. I am drawn to abstraction because of its ability to easily slip into surrounding territories of figuration and spatial illusion. In these painting modalities I seek to create a tension between the materiality of painting and the image.

The way that my paintings are constructed reveals the way they are made. Paint is applied, added, subtracted, that is, the paintings are built through a series of marks that generate fields and grids, giving the viewer a sense of being able to physically navigate the picture plane. Sharp, thick, precise, hesitant, aggressive, wobbly, and frail; leaks, eddies, and snags are secreted throughout my paintings so as to move the viewer around the edges of the frame and back again.

When a stain becomes a trompe l’oeil shadow, or drips become hardedge vibration, the painting arrives at a moment of threshold. Trespassing through these visual and art historical modes make the painting process itself a search for form and meaning for both me as its maker and for its viewer. Compressions of time and space, along with accumulations of texture and touch constitute the composition. The picture is thus an index of a thoughtful and deliberate process that nonetheless is structured to derail somewhere between point A and B. These derailments and erasures are generative failures, incorporated to become traces and veils and give the sensation of space that billows forward and simultaneously recede.

Through painting I explore how knowledge is an empirical product- inscribed both in and by the body. This aesthetic isn’t transcendent, but intricate and corporeal. Ideally, the works are seductive even in their abjection.