I make paintings, drawings, and objects that explore how bodies and environments shape one another. I am interested in the unstable boundaries between self and environment, animate and inanimate, figure and ground.
I often approach abstraction through the body. Not all of the bodies in my work are human. Animals, furniture, plants, and built spaces can all function as bodies because they support, contain, or accommodate other forms of life.
Ecology provides a framework for this inquiry. The relationship between figure and ground becomes a model: neither exists independently of the other, and each continually takes shape through its surroundings. How do we encounter others? Where does one body end and another begin?
My work grows out of a daily practice of diagrammatic figure drawing, through which forms gradually accumulate into a visual vocabulary. In the paintings, I test, combine, and transform those forms. Color often serves as a point of departure, generating forms rather than describing them. For me, painting is closer to philosophy—a way of working through questions without fixed answers. It allows thought to emerge through material experience.
Much of my work in SlipSites turns toward early theories of vision that imagined seeing as something physical—a force extending between viewer and world, closer to touch than observation. Some Pre-Socratic philosophers understood sight as an emanation from the eye. In this view, vision becomes less an act of passive observation than a physical encounter with the world. My paintings often begin with diagrams that speculate about aspects of vision we cannot directly picture. Bodies, objects, and spaces emerge from a shared painted field while remaining partially entangled within it. I am interested in vision as something that occurs between the emanation of color and the physical presence of matter—somewhere between seeing and touch.