I am intrigued by the unexpected and peculiar visual aspects of the things I see from day to day. Likewise in art, it is the realm of abstraction that appeals to me.

When extremely vague suggestions of familiar things emerge from considerably abstract work, I believe the viewer’s experience can be heightened. We are in thin air, hovering between a search for reference and the emotional state that can bloom in the absence of it.

My desire to make art is accompanied by the desire to make constructed things. These two motivations, along with my obsession with the visual appeal of my surroundings, led me to found object art, utilizing fragments of day-to-day familiarity to form a cohesive yet uncommon whole.

Looking for components, I choose according to impulse rather than preconception, allowing chance to set the stage for the development of the work. Most of the components I collect are worn or damaged.

In the studio I experiment heavily with temporary combinations in order to find mergers that excite and have some measure of compositional rhythm. During the process, I try to keep tendencies to develop representational imagery down to a minimum and always move toward montage. When in progress, my own take on these works remains vague until a personal interpretation arises, which then guides me to completion and titling.