My paintings and sculptures explore what happens when images and objects begin to fall apart. Since childhood I’ve felt both the power and pressure of images that instruct us to buy, sell, stop, go. Our world is saturated with images—moving and still, brightly colored, and almost always inflected by capitalism. In a world where photography is ubiquitous and graphic design renders pictures nearly indistinguishable from advertising, I’m interested in creating spaces where images—or the narratives they carry—fracture and recombine, exposing a moment in between recognition and collapse.
My practice is informed by the tension between hand-driven making and industrial manufacturing: I’m drawn to the precision and “fineness” of manufactured objects, while also troubled by their disposability. This contradiction points to a broader cultural amnesia around how things are made, how long they take to produce, and how quickly they are discarded. I work experimentally with materials such as cast plaster, metal, silicone, and traditional painting media, embracing open-ended processes where outcomes are variable and failure remains visible.
I often reference familiar forms—throwaway objects, bodily fragments, and domestic materials—cultivating an initial sense of recognition that gives way to uncertainty or absurdity upon closer inspection. Since becoming a Dad last year, ideas of impermanence, time, mortality, and futility have spurred my work, particularly as I contend with what to show and teach my son about the world. The interplay between the anonymity of the manufactured world and moment by moment discovery of life as it unfolds are at the heart of my works.