My work explores the perceptive and psychological effects of color, the role of geometric abstraction, and the aesthetics of leisure. Influenced by architecture, the history of interior design, and color theory, my aim is to create works that playfully question notions of taste. I use highly pigmented, matte acrylic paints that create a smooth, velvety, unreflective surface, while incorporating elements of rough organic texture made with pumice and sand. Titles are an important element of my work; each one is directly lifted from design books and oral histories of resort communities.

How I define a few terms important to my practice:

The visceral sensation of saturated paint upon a surface, with the precarious power to influence human psychology. An adherence to color theory to inform the treatment of the substrate. A device for pointing towards particular references.

Design Histories.
The ability for motifs to evolve from one meaning to another, the capacity for society to create new frameworks and structures. What once was vulgar is now tasteful. What is fashionable or subversive was undoubtedly appropriated from elsewhere.

A barrier, a means of organization, a tool for optical effects, a conveyor of ease. A pattern that has been reserved for both outcasts and the aristocratic elite, used as an emblem of liberty and a pillar to signify leisure and playfulness. A structure with endless variants to explore rhythm, tone, orientation, repetition, and texture.

Using artistic and utilitarian materials to falsify natural elements upon a built structure. A consideration of value: the dichotomy between centuries of highly coveted skilled labor and craftsmanship upended by the ease of manufacturing and modern materials.

Thing Theory.
When an object becomes a thing because it no longer is serving its intended function. Thinking about objects that were built as utilitarian items but were executed so beautifully, they are now behind velvet ropes or on display in museums as icons of design.

An investigation of natural versus manmade materials. Plastic acrylic paint made using organic and inorganic pigments. The geological time found in pumice and sand. An element of the natural world replicated artificially through the simple means of a spray can.