My work is located in the interstices of imagination and thought. The images combine thoughts, actions, and multiple voices in a single frame reflective of the abundance and complexity of contemporary life. Histories, projected or lived, are proposed for the discernment and selection of the viewer. My work hovers between the unnamable and the familiar.

I use traditional oil painting glazing techniques and drawing media, recollecting the beautiful surfaces of European masterworks. The framed paintings have nameplates that act not only as ironic devices, but also as a strategy to emphasize the discourse between images and text.

The following excerpt from the piece Chora and Agora offers another way of perceiving my sensibilities and process:

  Seated on a moving train, seeing (is) a blur of images never to be beheld. Places seem connected as if on a time-line, but not one lived. We desire the sights we cannot focus on. We keep looking at the views wanting to consume each and every one; lingering is our desire: to locate and possess ourselves in each image, each moment. Our desire to see, to flirt, to identify and become the one who controls the image: we are the bearers of sight, surveyors of all that can be located in time, space and movement. We design the spaces in which we walk, talk, see, be seen, interact or not, re-positioning ourselves as we consume and produce.

Painting is for me always in process. I constantly question the epistemological basis for my thinking and painting. It is my way of being part of the conversation, that is, to be in discourse with others.