I take a painterly approach to sculpture, a sculptural approach to painting, and drawing sits both on two-dimensional surfaces and extends into three-dimensional physical space.

I am completely interested in breaking down barriers of categorization.

Are we looking at a painting, or a sculpture? An image, or an object? Perhaps all of the above. 

My work is driven by capturing the movement of images as they drift through compositions and find resonance in perception, thought, and memory.  Like the fleeting movement of bodies and landscape, images take hold of us. 

Sometimes these images are fully formed; oftentimes they are fragments of thoughts; and, even more so, these images are influenced by memory. Memory isolates aspects of an image – and this reinterpretation is what I represent in my work. 

I often work with simple tools – and push them to points where references expand to a myriad of associations. By pushing tools into new formations, and by treating them with paint in various ways, I let them waver between abstraction and representation.

I move between mediums through repetition, alteration, and attention to material. In the studio I stay open by working across paper, canvas, and metal at the same time, letting them converse. I  apply oil paint, spray paint, airbrush, graphite, or watercolor depending on what each piece needs, and that back-and-forth keeps the work alive and always changing.

My metal works follow a step-by-step process: an arrangement is made, taken to the foundry, cast in metal, and then returned to the studio where I paint and draw upon it. I love the permanence of a composition fixed in aluminum, and how paint and graphite can then respond to it—layering over, working with texture, or even trying to disguise the raised surface. Like painting, there are always chances for the composition to shift and take its own direction.

Viewers who encounter my work are often surprised to to learn they are looking at cast aluminum. It is not only compelling to learn that you are seeing a two-by-four or rope as metal, but more importantly that associations to landscape, the human body, the drawn line create a new way of looking at that object.

A composition is captured when made in metal – whether this is the final casted composition, or in the moment molten metal cools into solid state. Metal is a very active body that permanently seizes activity of motion and this is why I am drawn to it.

In many ways, these metal forms feel like drawings suspended in space. A poured aluminum form acts as a drawn gesture that has been caught midair. The immediacy of drawing carries into these works, yet the permanence of metal transforms the fleeting mark into something solid.

My work often begins in drawing — a quick sketch, a note, or even the tracing of an idea that later takes on sculptural weight. Sometimes these remain as drawings, sometimes they expand into painted surfaces, and sometimes they are reconfigured in metal. The shifting between these modes is less about medium hierarchy and more about finding the right form for an image to live in.

Drawing evokes attention. It allows me to think through, around, and with a subject—moving between slowness and quickness, diary and mapping. For both artist and viewer, drawing asks for patience, making it an ideal medium to capture time and its movements.

What excites me most about painting, is its ability for images to emerge. With sculpture, images are built and planned; with painting, they surface more unexpectedly—a curve, a field of color, a contour that shifts in and out of recognition. And for me, “canvas” is not just cotton or linen—it might also be cast metal or textured paper, each surface bringing its own history into the work.

I’m drawn to painting’s energy: the way gesture guides composition, the way color affects the viewer, and the way the edges of the canvas can be tested and pushed.

I am motivated by a concern with time – how one can transfer moments, relationships and practicalities into objects. There is no sharp distinction between medium and experience, work and rest, or personal and social habits. As an artist, I am trying to document it all – the mundane, the curious, the active, and the poetic.

With reference to John Dewey’s quote that “the sensible surface of things is never merely a surface” – in a similar spirit, I want my work to show that the time of things is never merely the passing of time, but rather a harassment of activity. It is something that does something to us, and we do something to it.