The impulse to paint arises in a moment of recognizing the potential for meaning to emerge from the interplay of discrete confluences—a rippled corrugation where two dips align. By acknowledging this potential, I find a vantage point from which I can view the world askance, enabling me to identify the internal power structures at play within myself and resist or subvert external hegemonies through the formal and conceptual agency of painting.
     Working with a degraded color palette drawn from screenshots of strangers' home movies on YouTube, I perceive these colors as collective fragments of the past, mediated through technological determinism. By tracing colors that have undergone technological mediation over time and returning them to an analog source via ink or paint, I am comforted by the feeling of the future and past coexisting simultaneously. In these colors, I confront the antinomic nature of time.
     Always establishing a set of constraints and intrigued by what is at stake in a painting, I utilize thumbnail sketches as a tool to construct cropped, expansive compositions in a single layer of oil on linen. Engaging with appropriation, dreams, symbols, embodied movement, and the lens, I explore painting's ability to transition from dark to light through transparency, how to achieve a matte surface with oil, and examine the effects of scale, flatness, perspectival space, and the relationship between abstraction and figuration.