In my practice, I use a hybrid form of painting, drawing and collage as a metaphor for the continual cycle of decay and regeneration on Earth. I carefully assemble paint, drawings, printed vintage ephemera, paper scraps, Victorian weaving patterns, toile, elements of Chinoiserie, barnacles, lichens, webs and other natural elements into a layered composition. Fauna and flora are the protagonists interacting with what we leave behind– ranging from a Louis XV chair to a muscle car or vintage radio. Birds take over for the people who are gone. Old and new come together in my work, celebrating nature, memory and the cycle of life.

People often say my paintings remind them of their childhood. I want my paintings to also remind them of the future. In our materialistic society, objects and papers accumulate in our homes, items we treasure we later leave to friends or offspring when we die. I’m fascinated by antique stores because someone’s entire life ends up in a bin: old, crinkled photographs, postcards with messages scrawled on them, and other vintage ephemera hold memories. The paper scraps and fragments we leave behind point to the transience of our lives and our era. My work asks the question– what if we were all gone, but our possessions remained? Perhaps they would wind up washing ashore at low tide, with birds collecting them. Who remembers us then, and how? Does it matter? Of course it does. The poetics of our memory weave us all together as human, even when our experiences are very different from one another. We are all merely visitors in this territory. Like us, fauna and flora occupy the Earth only for a short time. Unlike us, they leave nothing behind. Lets consider our impact and honor our humanity, while there is still time.

Visually, my work hovers halfway between representation and abstraction. Even though I use traditional painting and drawing techniques and collage photographs and sketches into paintings, the overall compositions resemble Japanese prints, with the abstraction inherent in a reverence for the flat picture plane. My other influences –which include Marcel Duchamp, Kurt Schwitters, John James Audubon, Maria Sybilla Merian and contemporary abstractionists such as Helen Frankenthaler, Brice Marden and Cy Twombly– are notably Western. As a result of these diverse influences, my work simultaneously emphasizes flat materiality and the illusion of three-dimensional space. It is factual and poetically evocative at the same time. Due to my interest in ontological play within the practice of painting, and my eclectic influences and sources, my work is often categorized as Contemporary Dada or New Surrealism.

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