Because each of us comes from a different background, each of us has a unique experience of the world. Having moved several times recently, I have come to realize how much my childhood background has influenced me; it has influenced my personal views of my environment as well as how I view and learn from experience. My view of the world is unique, and therefore, I find it important and desirable to look for and highlight the abstractions and ambiguities in my reality.

I previously tried to force the abstraction onto a scene to make my art. I’ve discovered, however, that the abstraction and ambiguity of a subject is much more powerful when it’s part of its inherit nature. The imagery that I’m currently working with is of driftwood, plants, and other organic organisms. At first glance, my subjects may be unrecognizable because my view is magnified.
I enjoy this ambiguity because the varying interpretations of my work mirror the varying ways to experience life.

The organic nature of the subject is important to me for two reasons: the first is formal, and the second is conceptual. Formally I have always been attracted to patterns. I’m intrigued by how they can be overwhelming and complex, but at the same time, regular and organized. The flowing, rhythmic movement of the organic subject creates an all-over design on the surface similar to those created by patterns. The eye constantly moves over the image searching for repetitive shapes and movements as well as variances in the design.

Conceptually, the specificity of the organic subject is just as important to me. I choose subjects that are part of my daily life and surroundings. It’s essential for me to have a relationship with the object I’m representing. It’s also critical that the object contain the movement and rhythm that comes from something with life. Nature and life are continually moving and evolving, and these images are supposed to capture and emulate that.