With some exceptions, my work generally channels a "less is more" sentiment. Crude, or reductive, gestures might betray a critique of materiality, form and the mark. Meanwhile, figures trudge and traipse through landscapes, cityscapes, voidscapes, emerging from or collapsing into shadows and stains and scrawls and blots, desperately distanced from the physical, the tangible, the real.

Contemplating the murder of childhood dreams and the ensuing, unavoidable suicide of adulthood; lamenting the death of the touch and our whole-hearted embrace of perpetual dissatisfaction, all compounded by our utter descent into the negative feedback loop of the failure of history, my work hopes to help viewers hit absolute bottom. This achieved, we might each begin to break through the putrescent decay of all that was once hopeful and regurgitate the repugnant fruit of false transcendence back into God's infantile, starving face-hole so that He may choke on it and finally free us of this most ridiculous construct.

Stated another way, each of my projects is part of an ongoing critique of personal and societal unhappiness. These projects examine a world in which empty dreams have delivered nothingness, a world where the myth of upward mobility and the promise of the "good life" have been revealed corrupt. The comfort of the "light at the end of the tunnel" proves to be no more than our burning need for intimacy.

Imploding our bankrupt modus operandi, my work is an unhappy, sometimes comic tragedy about the results of political and spiritual ideals whose primordial architecture barely conceals writhing, diseased paradigms of hierarchy, exclusivity and ego-worship.