My work often explores the connection between science and art; the artwork itself is usually the outcome of an ongoing experiment. Chemical reactions and corrosion are used as visual commentary about humanity’s constant cycle of creation and destruction. 

Elements of chance are introduced to each “experiment” that occurs within my studio. I seek to explore nontraditional mark making processes while collaborating with time and reaction. The materials employed (acids, salts, oxides, metals and raw pigments) have inherent meaning and significance. Salts bind to the image’s surface, adding texture as they shimmer in raking light. This organic element is both beautiful and destructive; a reminder of the natural forces, which aided by time, can erase our most seemingly permanent creations.

Themes of time, rhythm, and physical labor have always been present within my subject matter. In recent years these themes have grown to encompass geography, biology and war. Ritual is the connection. I am fascinated by the making of art as ritual, and the reoccurring subject matter of art history that documents the human experience.

As an artist, my formal concerns must adjust to each unpredictable mark left by an accident within the process of working. In this way my work revolves around process and involves a great deal of note taking as the artwork evolves. Each new layer appears to have its own logic and each reaction forces a destruction of order. No line or division seems capable of survival. The result becomes a map-like landscape of history and reaction. Chaos and chance become byproducts of leaving one’s mark, building an image and dividing a space.

As a society we draw lines that are both idealistic and physical to define things like geography, politics or religion. Yet, inherent to this struggle is a constant state of flux and instability brought on by ever-changing intentions and the forward march of time.