My practice is rooted in working exclusively on paper, a medium I value for its flexibility.

I use flat, hard-edge acrylic forms to establish a sense of order and structure, which I then interrupt with color-driven collage elements sourced from art journals, primarily reproductions of other artists’ work. I am drawn to these images for their color and shape, but their inclusion also reflects a desire to recognize and connect with fellow artists—a way of keeping it in the family.

Through appropriation and recontextualization, these fragments take on new meaning within my compositions, introducing unexpected shifts in rhythm, texture, and visual language.

The resulting works exist between control and disruption, where deliberate systems of form and color are continually reconsidered through layering and juxtaposition.

NO BIO

I prefer my work to be encountered without standing between it and the viewer.

I reveal little about myself because biography, personality, appearance, and identity inevitably shape perception. Once the viewer knows something about the person who made a work, that knowledge becomes part of the experience—often before the work has had a chance to speak for itself. Think about all you know about Warhol and how that surfaces subconsciously and frames you seeing his work.

The work is therefore presented with minimal context. I am less interested in directing how it should be understood than in allowing each viewer to bring their own associations, judgments, and experiences to it.

Besides, I’m not very interesting.

Based on Chicago.