My practice moves between two ways of thinking: the visual and the verbal. Dynamic color, expressive marks, and varying textures produce an immediate and visceral reaction. Fragments of words engage the viewer in the task of reading, extending their process of looking as they form connections between what is written and what is implied through paint. 
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Instead of drawing a strict line between a painting and its context, I include elements that are usually external to the painting through collage: explanatory essays, the title of the work, frame matboards, business cards. My method of working is deconstructive and phenomenological; it foregrounds the viewer experience and calls attention to signifiers of meaning that are usually hidden.

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While I ask many questions through my work, I do not pretend to have all the answers. I reference other disciplines that also grapple with questions of origins and meaning: philosophy, science, mythology, poetry, and religion. 

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Each viewer will come to their own unique conclusions based on how they interpret the specific combination of colors, fragmented words, and texts that I include. I aim to make plain that there is no single “meaning,” and that our beliefs are subjective, personal, and highly contextual.