The materiality of paint is integral to my process and thinking. The viscosity of the material suggests sculpting in two dimensions. I use brushstrokes, patterns, forms, lines, and dense paint to create physical representations––figures and objects that reside in two dimensions yet project sensuality.

My goal is to determine exactly what is enough to suggest an object while still leaving room for uncertainty, ambiguity, and interpretation. I am interested in the moment when a clunky, paint-encrusted form is seen as a stand-in for a table adorned with a cloth, or various brushstrokes trigger the mind to fleetingly see a vase. These moments, when abstract forms become objects or objects become forms, create a push-and-pull that raises questions about the clarity of experience, the slipperiness of perception, and the tangibility of reality. I am interested in the intersection where abstraction meets and departs from representation.