Statement

My interests lie in the practices of formal repetition, variation and mutation within limited
serial systems and networks. The paintings consist of many interrelated layers of repeating
geometric forms—lines, circles, arcs, and grids—that I design on the computer. I replicate
these basic elements into an increasingly complex field that I then render in discreet layers
of oil and encaustic paint. Using ephemeral, computer-generated images exclusively as my
source material, I create paintings that physically assert themselves through the materiality
and permanence of historical painting media. The translation from the 'virtual' to the 'real'
is paramount.

I create groups of paintings that function as self-referential systems. Within these groups of
closely related paintings, the works progress logically, beginning with pairs or quads of
nearly identical 'siblings' that appear different because the order of painted layers is
shuffled. Otherwise, they are materially, physically identical in color, form, composition, and
technique. Thus, each painting functions as a self-contained individual, and as a member of
a group or network. The groups culminate in large works that exhibit an expansion of the
compositional field—a disintegration of the regularity of the forms, and an increasing spatial
perspective. These works represent a 'break'—a shift, a digression—or perhaps, a begin-
ning or an ending. Differentiation within the closed system allows for comparison and the
assertion of identity. 'Familial' repetition within each group of paintings is a means of sug-
gesting multiplicity and transformation through the language of abstraction.