At the crux of my creative process is an ambiguity of identity. What is the interior space of being uninfluenced by humanity’s constructs? My early work combined immersive installation with painting, and was concerned with non-being; that space between destruction and creation in regards to a loss of self (Drift Velocity, 2012 + [Lack of] Being, 2013-14). In 2016 I became an internationally showing artist due to That Which is Past, That Which is Now - a process piece about the cycles of life and death of the self. I created this piece in Iceland, for a place that experiences long periods of darkness, and long periods of light in perpetual and necessary exchange.

Since 2016 the focus of my work has moved out of this inner space and into the physicality of open space. Where does open space still exist without political or industrial control? The importance of finding empty space internally is just as crucial to the human spirit as conserving open land is to nature and her ecosystems. I hope to work with open space conservation efforts. I believe that communities with access to open spaces will raise children with a better capacity for inner peace, strength, and the ability to self-heal. I seek a greater conversation between my work and the world around me.

I experience painting as an intellectual activity but with the immediate act as intrinsic and intuitive. I paint from a space of internal submission, though with a decisive vision leading the image. There is a conversation between using the medium to my will and letting the medium lead me.

Recently, I am interested in absence and presence coexisting within my images. Both a dissolution and coherency of identity occur. What sense of place is created? Alan Watts explains the Buddhists’ quest for nothingness this way; it is the same nothingness (of space) that contains the entirety of existence.