I refer to my work interchangeably as paintings and as constructions as they have begun to straddle the
two- and three-dimensional plane. I choose materials and processes that allow for limited control and permanent consequences. It is important that mark making is treated with finality. It is important that it is reductive.

As a rule, there comes a point where things can only come apart, they cannot be put back together. Conceptually, I intend to explore the fragility between this notion of the whole and the broken. I do this by physically planing and building and then reacting and deconstructing. I find great beauty in the balance
of the two.