Using painting, drawing and abstraction as markers of a space outside of the verbal and within the visible, my work examines slow exchanges between perception, matter, and psychology that develop in peripheral spaces over time. Searching for meaning in the minor and the overlooked, the work focuses on the links between perception and emotion as they unfold in silent events of cognitive illumination. Each piece is developed through prolonged processes and stages to materialize intense shifts in how what we “see”, internally and outwardly, changes through duration. Moving through the works are forms that act as obstructions, veils, thresholds, or openings, oscillating between various states of hard materiality and atmospheric radiance.
 
Inspired by frescoes dramatically altered through chance and erosion, I work with oil on a plaster-like surface. Making only four paintings a year, the works are created concurrently and gradually, offering space for the labor and process of paying attention. Stages of repetitive marking and notching, aggressive chiseling, sudden removal, invisible labor, illumination, and aggregated layering become inscribed in the body of the painting. The particular historical gravity and physical density of fresco creates a weight for the minor experiences that are the subject of each piece, bringing the ephemeral into concrete form.
 
My approach to art making is philosophical and informed by Minimalism's consideration of the perceptual body along with Post-Minimalism’s attention to process and duration. Influenced by feminist thought to dislocate hierarchical terms of the sublime, the sources of abstraction are derived from momentary events in everyday life that interrupt and reposition both feeling and thought. It is important for me to create a space of exchange between the material object of the painting or drawing and the viewer. When the works are viewed from different distances, they move between reticent abstract form, intense optical shifts, and an intimate sense of materiality, creating a specific resonance while resisting closure.

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While slowly developing the paintings over extended periods of time, I work on distinct but overlapping drawing projects that connect to these works. These consist of the notebook drawings, works on paper, remainders, and traces.