I went to art school in Maine and stayed there for few years after. My work in Maine was primarily inspired by atlantic shore simple organisms. I was interested in the way microorganisms didn’t have much of a form, they were more like living line drawings. I likened the darkness and intricacy of undersea regions to the aesthetic of 16th century Dutch still-life painting. As a result a lot of my paintings depict extreme slow movement and suspension in space. This allowed me to become very involved with the particulars of texture which were often gelatinous in nature.

More recently I am investigating ways of representing quickness. A tight frenzy in space like a mass of fish or insects. I am looking at a lot of Wayne Levin’s photography as well as Cornelia Parker in regard to the fragment of space.

I think of the masses in my paintings as fruiting bodies, malignant growths that take on a lavish formation. They are not lying still but are very slowly expanding out across the terrain, usurping surrounding materials.

These figures become garish amalgamations of color and texture.

Similar to the allegorical forest still-lifes of the late 1600′s, such as the paintings of Rachel Ruysch or Otto van Schrieck, there is the sense of malevolence connected to the living things that move along the forest floor. But this malevolence derives from the uneasy combination of textural pleasure and disgust.

Within the delicacy of the masses there is the indication of “festering” in the form of sodden underbellies and noxious fumes that rise into the air.

Beyond those things which are in the dark are those that are invisible in the light.

I am investigating ways to represent invisible textures, like the half mirage created by radiating heat.

I want to paint the effluvium which exists in peripheral. Although, these forms will never become more knowable through illustration, they turn a partly recognizable notation of the original experience.