My projects are based on conceptual interests in visual perception, urbanism, non-places, sprawl, symbolism in architecture, consumer culture, and visual systems for depicting space. I work with a variety of media and materials to explore these ideas in works that are both abstract and representational. I create works that involve a disconnection between seeing and comprehending, a separation of the real and the artificial, and an exploration of form and void. I balances these conceptual research concepts with formal, technically executed works that use a combination of both digital and traditional image-making techniques. My nostalgia and emotional attachments to space have led me to pursue works with their own particular spatial peculiarity. I continue to work in diverse visual media following these topics that balance both formal explorations and specific conceptual frameworks.

Digital imaging, photography and vector graphics allow me to both record and recreate intricate patterns, spaces and repetition that would not be possible with traditional drawing media. With computer-aided drawing tools like Illustrator and Photoshop, it’s extremely easy to produce dazzling patterns and intricate tessellations of enormous complexity. My process involves using these toolsWITH a calculated restraint to produce unique variants that can be intricately dazzling, yet be still grounded within an observable occurrence. Printmaking has allowed me to explore a layering of digitally fabricated architectural “pieces”, yet still requires the hand to assemble one piece at a time. 3D animation permits the most inventiveness and freedom for exploring spatial situations, artificiality, light and movement. It has also functioned as a drawing tool for many conceptual sketches and experiments. Lastly, painting allows for the output of images on a larger scale with color and surface qualities not capable of with printmaking, digital imaging or photo-based works.

I strive to build a sense of tension into my works in order to explore the line between dazzling and lackluster, flat and dimensional, object versus image, print versus painting, and mass produced object versus high art object. I’m attempting to create physical experiences in much of what I do; either through optical energies that force the eye to manage contradictory illusions or through the refocusing of light, shadow and space in a way that the viewer is able to empathize and attach themselves to inanimate objects, architectural elements, and man-made surfaces.