As a painter, I am particularly interested in the symbiotic relationship between painting and film, and find myself continually comparing, juxtaposing, and relating the way the two different media present space. I like the notion that imagery so pervasive and familiar can, through a bit of mediation, become new, strange, and difficult to place. I make paintings that are conscious of the influence of cinematic space -- how it dominates the way people perceive, remember, and imagine environments. Rather than working to make direct references to or depict films, I use cinematic imagery simply as a point of departure to construct new, but somewhat familiar spaces. I incorporate drawing, painting, and collage practices to recontextualize these cinematic spaces, making edge, surface, material, and mark primary concerns.

My most recent works in painting utilize cinematic imagery as a source material and catalyst, and consider film to be a collage-like, cartographic process. Films, through a build-up of thousands of still shots, slowly reveal place, space, architecture, and narrative geography. My paintings are constructed around this idea, compressing multiple cinematic spaces into the static space of a painting. The resulting images develop into simultaneous experiences of multiple spaces in a single moment, with a strong visual link to cartography.

The nature of my process results in images that investigate both representation and abstraction. In some of my paintings large, highly articulated interior spaces will exist next to abstract fragments, while other paintings are completely without recognizable senses of place. Ultimately, I am charting the relationships of spaces and diagramming the emotive atmospheres of film.