My work is driven by internal navigation. I am a slow and incessant thinker. Making art is simply a means for me to think immersively, consumingly.

My practice is thoroughly multimedia, as I combine and experiment with different materials and ways of making. I regularly collect text I encounter in my everyday life - lines from poems, things people say, things I read, and especially lyrics. Such resonant moments of text often inform my work, translated visibly or illegibly. I internalize, personalize, and express through that text my own experiences and emotions in an attempt to make sense of them. The meaning of the words and how I relate to them is significant for me, but I am also intrigued and motivated by the shapes of the letters, the interactions between them, and the spaces they define. 

There is often a quality of fixation about my work, which in many ways is about striving for control, and that is reflected through precision, geometry, and graphic aesthetic. Yet, that control is not always achieved, and working by hand is essential to me for that reason - for the imperfection that results from my process. My work deals with emerging forms, and the obscured. I often intentionally introduce flatness to investigate how elements push forward and recede, and how those positions may shift for the viewer. I am engaged in creating interplay and crossover of foreground and background, as well as fragmentation and windows of focus. I am drawn to the organization of the grid, but especially to dissolving that structure, to warping it, to instability.

My work investigates changing relationships and the effects of those changes on identity, determined by and situated in the contexts of happiness, depression, environment, self, others, and memory. I see my work as a manifestation of my inability to let things go and my tendency to get caught up in what I do not understand.