My practice is a study of how text and language interact with the process and material of painting. My source texts are chosen for their personal resonance; occasionally I will work from my own short notes, but more often I work with found or appropriated writing. In these instances I prefer to approach the texts obliquely, working with fragments, names, lists, or even codes and numbers, so that any referential content is not foregrounded and didactic, but rather there only to be excavated with careful looking. I do not want the work to be merely read (which I feel ends any engagement too quickly), and to that end the legibility that is reinforced by the use of stencils is contradicted by the erasure, layering, and shifts in scale and kerning of the painting process.
Formally the text functions as a drawn element, defining shape and composition in the painting against the fields of space delineated by areas of color. Where in a traditional 2D painting the layers of marks and color must resolve on a single plane, painting on 3D supports of structural aluminum allow me to further expand the possibilities of the painting as a carrier of information; all of the sides cannot be viewed simultaneously, and the complete painting can only be comprehended as an abstract construction.