Using painting, drawing and abstraction as markers of a space outside of the verbal and within the visible, my work examines slow exchanges between perception, matter, and psychology that develop in peripheral spaces over time. Searching for meaning in the minor and the overlooked, the work focuses on the links between perception and emotion as they unfold in silent events of cognitive illumination. Each piece is developed through prolonged processes and stages to materialize intense shifts in how what we “see”, internally and outwardly, changes through duration. Moving through the works are forms that act as obstructions, veils, thresholds, or openings, oscillating between various states of hard materiality and atmospheric radiance.
I make approximately four paintings over a year's time, which progress concurrently and gradually through stages of change. Inspired by frescoes dramatically altered through chance and erosion, I work with oil on a plaster-like surface. The particular historical gravity and physical density of fresco creates a weight for the seemingly minor experiences that are the subject of each piece, bringing the ephemeral into concrete form. Through its ability to be incised, carved into, and dug out, while broadening the capacity for oil paint to hold light, this ground becomes a site where multiple events are sequenced and embedded into one surface. As layers are repeatedly built up and excavated, I work through countering and transitory qualities of time, light, and matter to forge something that is solid and present. The accumulation of repetitive marking, thick covering, sudden removal, aggressive chiseling, luminous intervals, and expansive color become inscribed in the body of the painting. I want the paintings to absorb time and to give time.
My approach to art making is philosophical and informed by Minimalism's consideration of the perceptual body along with Post-Minimalism’s attention to process and duration. Influenced by feminist thought to dislocate hierarchical terms of the sublime, the sources of abstraction are derived from momentary events in everyday life that interrupt and reposition both feeling and thought. It is important for me to create a space of exchange between the material object of the painting or drawing and the viewer. When the works are viewed from different distances, they move between chromatic fields, reticent form, and intense physicality, creating a specific resonance while resisting closure.

While slowly developing the paintings over extended periods of time, I work on distinct but overlapping drawing projects that connect to these works. These consist of the remaindersnotebook drawingsworks on paper, and traces. 

Alongside the paintings, I make remainders, large-scale graphite rubbings of the paintings’ surface throughout their changing evolution, spare ghost-like topographies that become image through touch. Sometimes subtle, sometimes dramatic, they index forms within the paintings that are often no longer legible, yet are integral to their final state. When installed directly on the wall sequentially, they unveil an imprint of the past within an immersive field, proposing poetic and temporal narratives. When presented as a stack on the floor, one to two remainders are revealed at a time, like strata of residual memory. Whereas the paintings compress time and event into chromatic materiality, the remainders unfold laterally and serially. Incorporating loss as a form of structure, an intimate and quiet monumentality emerges. 
The notebook drawings are made directly with colored pencil in drawing books then torn out and joined with linen tape. Reductive in form, these drawings follow shifts in perception through time and the sensations of seeing, feeling and thinking in the periphery of lived spaces and the body. The combination of restrained forms and the central seam bring attention to their fragility and indicate the intimacy of the book as their source. I use these drawings as “notes”, gathering them in different groupings to help order stages within the paintings. Writing on the back, which I call “notations”, are conceived in conjunction with the drawings, and inform the development of the paintings.

The mixed media works on paper expand upon the fields and delineations within the  paintings, reflecting a similar process as they are painted, marked, sanded, picked, erased, layered, carved, cut, worked on top of each other, as well as from both sides. These works are created slowly while incorporating the index of time, marks, and residual atmosphere formed beneath and between the peripheral activities of making and daily studio life.
The traces are made on grey paper from either a rubbing of the surface of the paintings in progress, from beneath and between the works on paper, or a combination of both. These works are a way to capture the stages, ideas and poetics that surface and are then subsumed in the development of works, and to assert momentary flashes of visibility within dense aggregations of time. Form is often reduced and either reflects the directness and color of the notebook drawings, or the chance pressures of time and residual marks in the works on paper.