For the last three years I’ve made large-scale works on paper hovering between the mediums of painting, drawing and collage. These works, comprising pieces of painted paper collaged together and/or placed in relation on a wall, make literal my method of making a painting--in an attempt at extending and complicating painting’s typical materially derived definition. While a painting, often made up of paint and canvas, ultimately becomes a unified material entity, my paintings do not physically meld. Instead, the disparate “layers” of a painting are spread apart laterally--a paper growth organism able to extend itself perpetually, in theory. Working in paint on paper and heavily employing collage functions as a means of deconstructing my paintings, allowing me to delve deeper into the reasons behind my making.

But in addition to fostering my investigation into painting’s definition, the intentional visual and material disjunction of the work reveal my interest in imaging the fragmented physical and psychic condition of contemporary life, engaging a long held studio question, “What does it mean to make a painting now--in THIS space and time?” Conceptually committed to inventing a visual counterpart to the breakneck pace of our culture through images equally relentless in their press of information, my paintings revel in high-keyed color and the juxtaposition of shape and pattern as a means of locating some kind of ecstatic, exuberant, ever unfolding space analogous to our frenetic existence.