Taking the romantic painting traditions of the late nineteenth century as my initial point of reference, I playfully interrupt and eschew their spatial logic and formal conventions. My paintings, in turn, offer the viewer the playful experience of both relishing in the promise of the sublime or utopian futures that are implied by these structures, while also humorously acknowledging the futility and absurdity of such gestures.
In the process of constructing these paintings, I use a variety of source material: hand-built models, photographs, and invented or imagined spaces. This mimics to a degree the multi- layered approach I employ during the process of painting; the paintings become odd assemblages of various painting histories that alternatively conflate and congeal around one another.
The paintings act as various non-linear points of connection between one another, telling fragments of journeys and stories without total resolve and leaving the viewer to construct their own understanding of the world alluded to and represented. In this way, the works collectively become a representation of various possibilities, a circuitous route of exploration, at once offering and subverting the process of making meaning.