My painting practice approaches the internet in a way that is whimsical, infatuated with the potential physicality of an immaterial but ever-present structure in my life. My practice is centered around portraiture, digital self-presentation and what it means to view and be viewed through an interface.

Each painting or painting collection-object is sourced from screenshots captured on web conferences or social media sites. Although these moments seem inconsequential, the digital infrastructures and interfaces that contain them continue to create a collective history of the present that is exponential in its growth and cultural importance. Where do digital images go after being passed over?

Thick paint application and slight abstraction are essential to these paintings. With them, I am translating slick, 2D photos into expressive polyptychs with unique textures and imperfections that invite the viewer to touch—much like the digital interfaces that continually beg for our constant attention and activation.