Using simple, handmade rubber stamps, I press inks onto canvas to build images and compositions. While the process is mechanical, I do not try to replicate the work of a machine. Instead, through manual labor, I tease out inconsistencies and imperfections that lurk in the process.

Each painting is a registry of fairly consistent hatch marks that simultaneously reveal and obscure the history of the painting’s making. Working in this way, I assert a conviction that the phenomenon of painting is restricted to the material sum of its parts. However, this field of transparency and opacity, despite chance events, presents itself as a singular, cohesive apparition, a ghost that appears despite my own skepticism.