My work is concept-based and characterized by abstract imagery with results that convey a minimal aesthetic. Though composed of diverse materials that best match an explored idea, my work often has a strong photographic foundation and employs a selective color palette appropriate to each piece.

The brain fools us into thinking we see complete environments, when in fact visual input is fractured, edited constantly, remembered inconsistently, and inherently abstract. I experienced the complexity of this perceptual anomaly first-hand when an irrational childhood fear of blindness, brought on by rapidly deteriorating eyesight, caused a 3-year period in which I saw the world softly. Light, color, and their resultant shapes became elements that helped me navigate an uncomfortable world. This experience drew me to abstraction and resulted in works that craft a way of understanding intricate thought processes, data, definitions, rules, etc. from deceptively simple-looking installations, photographs, and sculptures.

Sometimes the work toys with a given and exposes it as an arbitrary rule that can easily be broken, whilst also showing preconceived notions about reality can be false (White Balance Backdrop and Color Checker Cards). Other works put forth poetic interpretations of scientific and technical phenomena (Chromatic Variation) or political or social thought and data (Bloodlines). Reversal explores spatial and conventional expectations, process, product, and a photograph’s relationship to time, collapsing many of these subjects into themselves.

I encourage a murky lack of distinction between mediums in my work resulting for example in photographic works that masquerade as illustrations or paintings. The works are subtly alluring drawing one in with an inherent beauty, while asking one to consider imagery that is foreign to the standard human visual vocabulary, and suggesting there is an analytical thought process that can be followed, which may not yield definitive answers, but rather an ambiguity to be explored.