Terrestrial in origin and electronic in spirit, my paintings are as much about the future of our communal headspace as they are about the history of landscape. I make paintings about in-between spaces: air pockets, breathing room, place-holders, redactions. Abstraction is a language that allows me pause, that still permits an inconclusive ellipsis or a question mark. I love words, but I’m even more intrigued by the gasps in interaction when words become unintelligible ... or disappear altogether.

In my paintings, I create situations that arise from object and chroma relationships. I’m interested in how a pause can become the subject of a sentence, the tension that makes complementary colors argue, the way a single cloud hovers sentinel-like over land when seen from above or when “plan or elevation” perspective tricks our eye into looking into a space - or projecting onto it. In my most recent work, I specifically give body to the void that is my favorite subject, fabricating plastic impasto “puffy stickers “ that appear as a kind of commercial appliqué in my paintings. Childish in form and materially charged in their essence, these paint proxies both add and subtract from their environment, casting shadows, creating new landforms, forming bubble worlds that blithely tune out the static of the information plane below. Just as my studio days are spent in retreat from my daily civilian workout with words, my paintings are documents of reconnaissance wanderings across a melting, noisy world and of finding new ways to literally draw a blank.