Imagining the human since the rise of capitalism entangles us with ideas of progress and with the spread of techniques of alienation that turn both humans and other beings into resources. 

― Anna Lowenhaupt Tsing, The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins

I use various filtering devices to separate and scramble images and then reassemble them as studies for visually dense paintings. The compositions are organized like a symbiotic, multi-species assemblage found in nature, yet the predominant imagery is the human-made built environment. I imagine connections, in-between spaces, scalar fluidity, where the private and public realm collapse. Short-term comforts and long-term consequences are married, and histories and genealogies whose boundaries and borders dissolve and reappear in unexpected places. The process is almost like a thought problem that starts with the question “what would it look like if…?” Most of the time the question centers on combining spaces or moments that aren’t meant to go together, letting them collude, collide and clash and then looking for pattern, resonance and schematic visual structures that emerge as I paint.