This collection approaches painting as a form of detective work.  The work undertakes a search for evidence to cross-examine perception, societal values, and the medium of painting.  In this framework, painting becomes a forensic language, operating through analysis, questioning, interpretation, and debate.

Turning my attention to everyday objects, I use cold wax and oil paint, with graphite powder as my primary pigment. These materials bring together drawing, painting, and sculpture. This in turn echoes my interest in the triangulation of real, imaginary, and symbolic elements.  The cold wax makes the surface tactile and sculptural while acting as a preservative seal; graphite evokes drawing and writing but also an investigatory tool.  Thus, the paintings parallel acts of examination through inspecting, tracing, and registering surfaces.

My paintings draw attention to the deeper implications behind unremarkable elements of our environment. I see the objects I paint as material witnesses, bearing silent testimony to systems of labor, education, circulation, maintenance, and neglect that often remain obscured.  Through isolating and closely inspecting, the ordinary becomes charged with latent significance.

I am ultimately concerned with the ethical dimensions of looking and how one attends to the world: at what distance; with what level of attention; and with what responsibility. Rejecting closure, I present the painting as a case while keeping it open for further examination.  The paintings hold the visible world in suspension as evidence awaiting interpretation.