y work comes mostly from found or discarded materials taken from my immediate environment and transformed from objects into images. I am particularly interested in the natural weathering and dilapidation that occurs on wood and metal surfaces that have been ignored. This record (or history) of activity seems to transcend human concerns and address larger issues of nature in which we are nearly an inconsequential element. These built-up layers seem to have a distinctly "realistic" and elemental appearance - sometimes looking like wind-swept landscapes or weatherscapes. It seems almost as if the objective presentation of this kind of surface, in a format that resembles painting, represents representation itself.

I feel that making art is like dreaming on purpose, and involves a rigorous search for beauty amidst materials that have been cast aside. It is a physically engaging, organic process of creating, and an opportunity to present myself with something paradoxically strange and familiar that does not restrict contemplation. My work allows me to view my environment in a way that is poetic rather than dismissive. It is my hope that the work has a similar effect on those who view it, perhaps also altering the way they see their world.

The work is deliberately left open-ended and unexplained, allowing viewers (as well as myself) to read it through the richness of their own experiences. Although I cannot entirely list the intuitive, self-imposed rules that govern the production of my work, or all the reasons for making it, I know without doubt that it needs to be made.