In my recent work, I have been exploring how various positions can occupy the same space and how one strategy can be inserted into, or effect, another. I investigate exchanges between control and feeling, and the mind and body. I am interested in how images, meaning, and meaninglessness interact, and how the viewer relates to these interactions. The process of organizing so much imagery results in thickly textured color-fields that protrude several inches from the picture plane, both extending and depleting meaning. The physicality of paint is as excessive as the complexity of signs. I use various mechanical procedures to interrupt traditional notions of gesture, which helps empty out signifiers so they can form new relationships to meaning. These dislocating strategies allow the images to assert a new position.