The majority of my work comes from an interest in how we see in relationship to the environments we are forced to inhabit or move in and out of.  My curatorial projects, in addition to my studies in anthropology, literature and philosophy, have influenced my work.  In that regard I am seeking to investigate temporal delay not in theoretical terms as much as through the relationship of aesthetics to lived experience.

My most recent body of work is called For No Good Reason. The work came from my interest in the nature of displacement. In this case, I am attempting to engage a kind of architectural stasis in which various elements move beyond their "rightful" place.  In the work I am using a compositional juxtaposition that creates a temporal delay by setting up spaces that hold and release, through the relocation of horizons and through the use of light and shadow. The word uncanny may come to mind, owing to source material that originated in the architecture of institutions, in the aftermath of weather disturbances in places such as New Orleans and Indonesia, and from human disturbances such the Iraq war.

If the question, "what is the purpose of this work?" arises, the title is meant to convey the moral limitations that reason can put on trying to comprehend things trapped by the limits of our understanding. In an attempt to further the work, I am trying to manipulate the paint in a way that contradicts the subject matter and points to a more sensorial experience for the viewer.