My practice relies on channeling a focused mindset, enabled by the athletic model of resistance training. This training is any exercise, usually repetitive in its implementation, that causes the muscles to contract against external resistance, typically with the expectation of increasing strength, tone, mass, performance, and/or endurance. This framework allows me to rely on my body intelligence to move within my paintings and combine it with particular forms of conditioning gained in my youth. I couple this with repetitious action and environmental resistance to position my studio as a sort of ‘training ground’. A space both hypothetical and actual, where I compete with myself to continually push against my definitional restraints and boundaries of painting. 

This physical process helps me construct spaces within the arena of painting that simultaneously display the evidence of motion and promote single-minded immersion in the painting of a painting. Though I have painted with many different types of paint, on various surfaces, my recent work focuses on the implementation of plastic and plexiglass. Typically designed to resist the medium of paint, plastics set up the ultimate form of resistance to my process. These surfaces prolong fluidity and reduce viscosity; becoming oppositional forces that aid in establishing the ebb and flow between surface and surfacer. My paintings strive to take on aspects of sculpture, creating an environment that pivots, spatially, around the various notions and experimental possibilities of painting. This strategy blends a physicality—rooted in the immediate act of painting—with an immersive environment established by the arena of painting. The result is an attempt to let you ‘on the field.’ Through the use of plastic substrates and projected light, I create spaces that change viewers into participants; moments that redirect paintings back to their original event.