As a painter, my work is largely concerned with clarity, equilibrium, and the expressive possibilities of vibrant color.
To me, hard-edged abstraction has an interesting duality. It hides energy behind order, and is capable of great emotional variance despite a minimal vocabulary. This is where my art lives: a Mesotopia, in the world but not of it, sympathetic to society and yet unable to abide it.

In many ways painting targets hits a kind of sweet spot between the formal and the aesthetic. Target, of course, being shorthand for concentric circles, a bewitching image drawn since our species could pull a stick through dust. I could paint targets forever and never run out of ways to alter, change, enhance and engage them. See them as you will, as meditative, instructive, divine or basic; to me they are a visual respite, and they will always form a central part of my practice.

Recently I've welcomed a softer, more biomorphic imagery into my work, forms and shapes that reference our natural world and our place in it. I'm always experimenting with new ideas and methods but bright, clear, saturated color will always be a primary drive. I find my shapes by distorting fonts through a digital process, creating templates from those shapes using a plotter, then employing a complex masking and taping process to use them repeatedly throughout my work. In this sense, every painting is a secret language. You may not realize you are looking at letters as you look at my work, but they are composed, as a manuscript is.

Above all, I’m hoping to create a sense of calm and elation as we walk through these challenging and divisive times.