Like a catalog, my body of work documents individuals and memories that have left an impact - the work becomes a tool for interpreting observations that evoke a sense of human vulnerability and capture the human psyche.

I believe there is a psychological imprint that everyone leaves behind. Rooms are seldom neutral; they are imbued with feelings and records of behavior that I constantly explore in an attempt to seamlessly combine the physical with the psychological, the image with the emotion.  

At its core, my work is an experimentation in color and form, often contradicting the complimentary color palettes with the literal destruction of forms and figures. I openly play with disharmony in color and interrupted compositions, inviting foreign and surprising elements into "familiar surroundings." Sympathetic to repeating forms, each mark is approached with intention and often influenced by the one made prior. 

Preoccupied with the elusiveness of identity, my intentions are to create a body of portraiture that depicts moments of vulnerability that are then fictionalized by a mix of memory and imagination. It’s not so important to me that the viewer knows what the subject or object of the imagery is, but rather my enthusiasm in exploring the content. Relying solely on the memory of an experience, I paint as much as I can remember, but I am then forced to create what I do not know. 

Sometimes I’m drawn to someone’s hands, one’s interactions through speech, or one’s hunched over posture. A hunch can be a metaphor for so many things. My interest in observing these things acts as an incentive to begin a painting, however because the mind and its memories are capricious in nature, they distort what my eyes see as truth and the paintings become something between the actual experience and my recollection of it. The psychological relationship between the people I meet and observe and myself is what is most important to me. 

I try to paint the silent, indefinable space between us.

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