My drawings investigate how we navigate the world and the way we inhabit the places we construct. All the drawings are hand drawn with CMYK pens, creating visual fields that replicate commercial and digital printing. By using tactile processes to replicate digital logic, seemingly mechanical images are infused with the subtle psychological meanings a hand made mark can carry. This process is analogous to the way we inhabit spaces, where bodily habitation infuses otherwise utilitarian architecture and unfeeling nature with meaning.

Conceptually, I construct my images in a way that is akin to traditional oil painting. The structure of the picture is predetermined through drawing and planning, leaving me free to focus on the finer points of execution. Contextually, however, my pictures exist in relation to a vastly different time and narrative and respond to both the digital and tactile world we live in.

The making of the images is guided by the following set of self imposed propositions:

1. Pictures should minimize complication and maximize complexity, where complication describes the amount of information and complexity describes the quality and depth of information.
2. To make a picture is to distill without diluting. One starts with a world that is complicated and complex, and creates an analog that is less complicated but equally complex.
3. Good pictures must do work and all the elements within good pictures must do work.
4. Mark making should be judged on its ability to fulfill the criteria laid out in propositions 1 – 3. The process of making systematic marks forces me to engage the criteria laid out propositions 1 - 3.
5. The synthetic and systematic should be pushed until they approach the organic, or at least their own limits.