My recent work manifests itself through various modes of production and analysis. My work’s inspiration and, I believe, its strength lies in my address of painting’s fertile and extensive history as well as its current, shifting position within contemporary culture. Whether it is the use of traditional painting mediums, digital technologies, or other techniques, I am in search for modes of image- and object making that question the meaning, process, and definition of contemporary abstraction.

The history of modern art, abstraction, and 20th century avant-garde attitudes provides a rich platform for the conceptual framework and visual languages found within my work. Specifically, I am interested in combining aspects of abstract expressionism, minimalism, pop, and characteristics of anti-formal movements. These historical moments, tropes, and clichés are strategically referenced in order to construct visual experiences that are neither one nor the other but exist as a hybrid where by the products of these stylistic and aesthetic paradigms simultaneously become subject to critique as well as nostalgic celebration and fascination.

Currently I have adopted strategies found within op and gestural abstraction. Op is of interest for its ability to create a sense of kinetic time within the visual field whereby the painting exits in a visual state of flux. It is also of interest for its immediate associations with popular culture, design and fashion. The utilization of perspective in the recent works creates a tension with the poured gesture and forces the expressive mark into a visual space where paint represents paint. This establishes a sense of criticality in the works where abstraction represents abstraction and questions modes of representation within the genre.