I am a constant collector, gravitating most often to objects that have been designed, rather than those that occur naturally. I am drawn to cultural detritus, the overlooked and forgotten about—for example the exquisite micro patterns hidden inside envelopes or a glimpse of a patterned textile. The references I compile serve as a visual index, an image library of my daily life. Removed from their banal contexts, these scraps of reference begin to speak their own different languages, defiantly sloughing off the vestiges of any former lives. Part of my work involves listening to what these images are saying, and creating a space in which their voices can be heard.
In the studio I aim to transform images through a kind of painter’s alchemy, references become intricately interwoven with spontaneous studio inventions. Patterns misbehave, letting go of their rigorous structures. I consistently start new works without knowing where they might be headed. Often compositions get flipped around a number of times during my process, bottom becomes top, elements are regularly added or obscured as needed. My paintings mix the laborious with the casual, the slow with the fast. While beauty is a priority in my practice, good taste is not.