I approach my work from multiple angles. My multidisciplinary approach serves my eclectic, experiential aesthetic well. I often combine mediums; drawing, painting, sculpture, film, installation and performance. 

In my work, a point of departure may be a poem, an experience, an emotional or perhaps a physical place. I build from this using a personalized apparatus of circumvention. Personal experiences and memories are an important source. I wander and perceptually collect places on a sensory level, to accumulate them as ‘elements’ in my creative work. I choose certain elements (people, creatures, objects, places, etc) for their raw qualities; diversity is essential. I consider the texture of an element historically, intellectually, physically, and emotionally. 

My method:  Inclusive, accumulative, cyclical, and sparse. Layering the occasional accident with the intended, drawn to the small and the stumbled upon, looking for a chance moment. Texture, height, width, the floor, whispers, scent, an odd noise. A run-on unpunctuated, non-sense-i-cal eye. No scenario, no plot.

My themes:  Layered content, juggled context shifted and, tilted surfaces.

My subjects: Psychological landscapes, beauty, memory, the damaged, the authentic, little objects, little lies, cruelty, and neurosis, the missing, what we hold on to, the unnoticed, the fragile, the found. 

My process:  Intuitive, visceral, physical, the same process as living. Pick it up, run your hands over it, throw it in a corner, let it gather dust, go away, look for something in sleep.

Matter is shaped by time, space and chemistry, creating a poetic dwelling, something different: a psychological space imagined but not fully understood, a place both personal and unique yet connected to the common and universal. I am interested in creatively exploring this place, this object, this moment. I am curious about the boundaries between the actual and the projected, the experienced and the recorded, what is remembered and what is perceived now. Tenaciousness and a dedication to nonlinear ways of working have helped me to develop a respect for the encounter and how important, powerful and fragile an experience can be. These ideas establish the tenor of my creative voice.