The subjects, characters and the peculiar worlds they inhabit reference my childhood experiences observing my father’s medical practice of a physiatrist. I spent much of my formative years in hospitals viewing illnesses, and I developed an interest in disease and the way it transforms bodies. Both fascinated and repulsed by deformity and trauma, I discovered how these conditions affected the function or lack thereof, of an individual. Viewing amputees with their severed limbs and the grossly artificial-prosthetic devices used to replace the missing parts created very odd feelings for me. Only in adulthood have I been able to process these childhood occurrences with my father that then seemed deliciously repulsive.

Life, entropy, death, and perpetuality, a force that is robust, un-halting, and resourceful are the central elements of my work. I’m fascinated and disturbed by the prospect of life taking on new forms, interfacing with structural elements, mechanical objects, and technological systems. In this way organic and nonorganic systems become one and the same, reproducing together as some new, altered or evolved life form. I think of these altered life forms as the spontaneous outgrowth of accidents, misjudgments, miscalculations, and the abuse of an environment by its former inhabitants.

My work consists of figurative and biomorphic forms whose characters and environments imply narratives. At once organic and mechanical, these eccentric beings and the worlds they inhabit begin to address the anxieties of human existence and adaptation in the 21st century. Overlapping of paint, lines bleed into other lines, materials compete for dominance suggesting a confusion of space. The overall effect is a world of rapid change and fermentative energy revealing the evolution of something unknown.