I am been inspired by the simple act of lying in the grass and looking at the tiny world that exists within it, only to wish I could see more detail. The first naturalist who saw the organisms in the microscope looked for parallels in the larger world. The electron microscope brought our visual perspective even further, exposing the intricacies of organisms and matter. The possibility exists that our world is no more than a nanoscopic element contained in a megalithic organism. What technology could ever exist, to see such a megalithic form in whole? I enjoy fantasizing about these ideas, and my new work is developing rapidly from these thoughts.

My recent paintings are portals into the possibilities that lie beyond our present visual technology. They meld factual and fictitious organic imagery. Although my visual research is based in science, these forms do not exist in the real world, but rather enjoy living in an imaginative world of infinite possibility. The work is unhindered by concrete thought. All rules are destined to change. Grounds shift, uneffected by gravity. Foreground and background may alternate or become liquid.

The tools , a mix of found refuse, traditional paint brushes and household cleaning products, I use to create these forms, possess characteristics that encourage certain or specific shapes or outcomes by working on smooth, transparent surfaces. I intend a balance between improvised impulses and premeditated techniques. Familiar motifs, linear forms, expressionist brush marks and other painterly stokes, are combined into a dense and energetic whole. I am also interested in color and the effect of light on color. The work has been made on a clear surface to allow for more light to enter and surround the imagery. This method of working on a smooth surface allows greater fluidity when necessary. I find comfort working between dense horror vacui as well as slightly less unoccupied space. I find that a dense and highly decorative surface is far more interesting to interpret.

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