This series treats painting as a form of detective work.  It searches for evidence to cross-examine perception, value systems, and painting itself.  In this framework, painting becomes a kind of forensic language that uses close looking to facilitate debate and pursue truth.

I use oil, graphite powder, and cold wax to depict everyday objects.  To me, these materials combine painting, drawing, and sculpture; furthermore, this echoes my interest in the relationship between the real, the imaginary, and the symbolic.  Cold wax gives the surface a tactile, sculptural quality while sealing the painting; graphite functions as a material for drawing and writing and as an investigative tool.

The painting process draws my attention to deeper implications behind unremarkable elements of our environment.  For example, I paint a dented trash can, school desks, and a parking meter.  I see these objects as silent witnesses, testifying to the circulation of materials, time passing, and lessons learned, forgotten, and neglected.  Translating the objects into a painted surface provides the opportunity to scrutinize their forms as well as the formation of oneself and present conditions.

I am ultimately concerned with the ethical dimensions of looking and an examination of how one attends to the world. Rejecting closure, I present each painting as an open case.  The paintings suspend the visible world as evidence awaiting interpretation.