Often I think about the multiplicity of ways we exist in space at any one time. The process of understanding this multifaceted existence results in a cognitive clash. My paintings are manifestations of this clash in their simultaneous two and three-dimensionality.

I begin by photographing small sculptures that are reminiscent of the painting's final image. The sculptures are destroyed, leaving their image on paper the only remaining trace. I then incorporate sculptural elements back into the images by cutting, bending, and folding the paper. I attach balsa wood to the paintings because it represents the fourth dimension, as its wood grain allows us to see growth over time. Compressing these depictions of space and time into one painting opens windows into different realities that push up against one another.

This continuous movement prevents the paintings from ever being completely grasped. They do not evoke a knee-jerk response, but instead promote the idea that meaning can slowly reveal itself and change over time. They resist immediate conclusions and allow for contemplation through experience, thought and the senses.