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 I’ve pulled two frames from an animation. I steal visual traits, too, from the world of animation, cartoons, and comics. The signs and stylistic tropes I take up are crisp, clear and familiar. I aim to use this clarity as an inviting foil to the ambiguities and paradoxes presented in the painting as a whole. 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. In my project How to Gather Information, a painting transforms when a privy viewer stands in the correct position, and sees it through a red screen. The screen reveals hidden text, as if by magic. The atmosphere I return to over and over in my work speaks to the mystery I encounter in the gap 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 I’ve pulled two frames from an animation. I steal visual traits, too, from the world of animation, cartoons, and comics. The signs and stylistic tropes I take up are crisp, clear and familiar. I aim to use this clarity as an inviting foil to the ambiguities and paradoxes presented in the painting as a whole.

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.

In my project How to Gather Information, a painting transforms when a privy viewer stands in the correct position, and sees it through a red screen. The screen reveals hidden text, as if by magic. The atmosphere I return to over and over in my work speaks to the mystery I encounter in the gap 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.