In my process, the paintings are where the future would fit.
I do not feel a future in my body. I do not see what a future could look like with what I have around me. My imagination is stretched thin, and my most pragmatic habits fall short.

Much of the work I find most resonant is work depicting the figure: work about the artist’s relationship to body, to space, to form. Particularly strong work exhibits these relationships with self.

Abstraction fills in the gap for both: the resonance of figuration as sensation and the pessimism of lived experience are one in the same when married in my work. Painting gives me a new visual language to illustrate the sensation of loss (future tense), alienation (physical), and doubt. I can invite a viewer to the sensation without inviting them to a representation.

My paintings are still, always, an environment. Some works are rooms with little doorways and no floor. Other paintings are large confrontations of environment. Recently motifs of