The starting point for my work begins in the process of collecting and writing about my findings. For instance, gathering accounts of the history of a place, field recordings of a site, clippings from newspapers or magazines, and arranging them based on affinities.
Through a rigorous material engagement these initial gestures often mutate into works on paper, environmental paintings, animations and sound works. Often a combination of things observed, the graphic nature of my work organizes itself into a temporary image of my direct surroundings. This reveals a particular sense of place that comes from a synthesis of direct experience and research.
Although I employ various media, my artistic tactic conjugates and elucidates in the visual language of paint. As I problematize place, and tease out meanings and histories, my hand and its range of gesture, remains of primary concern. I can not escape resolving and reflecting the world in terms of paint. Originating from my experience with paint, problems of representation, destabilizing treatments of space, illusory properties of color inhabit the forms of my recent work.
The process of cut-out is employed in my recent work. I use collage, not as pastiche, but in a more recursive way. This allows for the form to reverberate. I am able to introduce a system of relations generated by my involvement in between forms.