My paintings and drawings are driven by my wonder at the miraculous interaction between surface and image, material and content, signs and the things they represent. I treat speech, representation and knowledge as performative activities that use the framework of a stage, not unlike tricks in a magic show. Some of my paintings give you a peek at this stage production from the side, or a view before the show begins.  Multiple points of view in time and space play out in the repetition and doubling of images throughout my work. Sometimes this repetition illustrates the passage of time, as if two frames have been lifted from an animation.  Hands and fingers appear throughout my work as a tool to compare pointing and touching as ways to gather knowledge. A recurring pointing hand resembles a magician’s misdirecting gesture. This is my cue to the dubious function of any picture – to point elsewhere. On the other hand, fingerprints and smudges that recur in my work are physical evidence of a haptic investigation, as if you could understand a picture by touching it.  Rows of seats, the proscenium, the curtain, the spotlight, the scrim and the backdrop recur throughout this work as its subject matter and architecture.   In my paintings and drawings, I aim to unpack the uncanny gap I encounter between fingertips and feeling, syntax and semantics, a painting’s surface and a picture’s depth. I waver between believing these things hang together by real magic, and thinking their unity is just a magic trick. 

My paintings and drawings are driven by my wonder at the miraculous interaction between surface and image, material and content, signs and the things they represent. I treat speech, representation and knowledge as performative activities that use the framework of a stage, not unlike tricks in a magic show. Some of my paintings give you a peek at this stage production from the side, or a view before the show begins.

Multiple points of view in time and space play out in the repetition and doubling of images throughout my work. Sometimes this repetition illustrates the passage of time, as if two frames have been lifted from an animation.

Hands and fingers appear throughout my work as a tool to compare pointing and touching as ways to gather knowledge. A recurring pointing hand resembles a magician’s misdirecting gesture. This is my cue to the dubious function of any picture – to point elsewhere. On the other hand, fingerprints and smudges that recur in my work are physical evidence of a haptic investigation, as if you could understand a picture by touching it.

Rows of seats, the proscenium, the curtain, the spotlight, the scrim and the backdrop recur throughout this work as its subject matter and architecture. In my paintings and drawings, I aim to unpack the uncanny gap I encounter between fingertips and feeling, syntax and semantics, a painting’s surface and a picture’s depth. I waver between believing these things hang together by real magic, and thinking their unity is just a magic trick.