STATEMENT

My practice begins with moments in space that make me pause and take notice. I’m drawn to fragments of the built and natural environment like ironwork, flowers, signage, architecture overtaken by nature or seemingly frozen in time, and spaces that feel specific, human, worn, tender, or strangely alive. My inspiration comes from a consistent psychogeographic walking practice, through which I photograph what grabs my attention without always knowing why. At times, I make associations immediately. Other times, I don’t understand why an image matters until I return to it in the studio.

As an artist with A.D.D., I understand attention as unpredictable and generative, a strange force that pulls me toward something before I can explain my attachment to it. While my work has often been rooted in documenting place, it's increasingly shaped by what these encounters bring up internally. When I return to my photographs in the studio, memories, moods, films, books, and personal associations begin to surface.

In my paintings, I stay close to recognizable fragments of place, preserving the angle and specificity of my source photographs while allowing personal associations to surface. Recently, I have begun incorporating physical materials and built-up painted elements that echo the logic of the original scene, allowing the paintings to hover between image and object. In my sculptures however, those same encounters become more abstract as they translate into biomorphic forms with saturated color, playful textures, and shifts in scale. Working across painting, ceramic, and other sculptural materials, I rebuild my perception of a space into works that feel heightened, intimate, tactile, and slightly fantastical. Across media, I’m interested in how ordinary details become emotionally charged through attention, memory, fantasy, and personal experience.