The image-riddled gauntlet of our contemporary population serves as a conceptual point of departure for my paintings. Drawn from sources such as Post-Modern artists David Salle and Robert Heinecken, my works are constructed through a collage-like layering of drawn and painted images. Varying degrees of transparency and opacity destabilize foreground and background, fostering a dissonance that quotes the seemingly familiar. Illogical spatial and contextual relationships swell. Interpretation through normative language and generalization is urged. Existing somewhere between known and unknown, this mire of the vulgar signifies our prolific visual culture while fulfilling innate desires to contextualize based on our own predispositions.

An endless list of cultural ingredients provides visual grist to our secular mill. Magazine ads and movie frames, Instagram posts and documentary photos are all frequently scanned over with a cursory glance, but offered up a second time in my paintings to be studied with intent in their layered replication. Sometimes, the banality of an image is reaffirmed. Other times, new and often unintended meanings materialize as relationships between the familiar and the alien approach cohesion but ultimately resist definition. The work begs viewers to author new narratives, but refutes anything more than a superficial summary.