Whether using traditional painting mediums or other techniques, I search for modes of object-making that question the meaning, process, and definition of contemporary painting. Utilizing the medium of painting as a complex syntax that may be approached through a variety of perceptual, procedural, and conceptual models, my recent work examines the dialectical nature of painting as both referential and abstract. The works draw from color-field and perceptual painting from the ’60s as well as reductionism found within ’70s French abstraction. Visual space is simultaneusly optical, physical, and conceptual. Existing as a hybrid of conflicting modernist references, the paintings look toward a pluralist idea of art in which meaning is constantly in question.