My paintings are positioned between an image and its double. In the same way that an illuminated object casts a shadow, a re-rendered image casts a semiotic shadow. My decision to work in monochrome speaks to the desire to depict the energy of these moving shadows. The drip, the blot, the smear, and the quotational nature of my images gesture toward abstract expressionism and the graphic novel. They acknowledge the hybrid nature of printed and digital imagery (specifically, television screens, advertising, and logos).

In the same way that signage in commercial spaces choreographs gazes through strategic placement, the frontality of the paintings is a nod to the signs I encounter while walking in the street. The architect Rem Koolhaas characterizes the structure of cities as a roulette of symbols/signs. My works share a similar architecture. At once subliminal and frontal, these images (in the form of cartoons, landscapes, and Yankee fitted caps, among others) play interference with the facsimiles of these subjects, and others like them, that exist prior to their creation.