I am interested in exploring the felt image within our vital daily landscape and how the very real physical presence of our souls interacts with and is acted upon by the convergence of power through architectonic, scientific, and political movements within our cultural growth.

These seemingly silent and often hidden forces quietly form and inform our thoughts through the synthesis of the act-react cycles in our daily existence. The question begs our answer, "as we become more adept technologically, how will we become shaped by this our panoptical age?" Will the institutional modes a priori preempt humane possibilities of transformation? Will we allow the individual to experience the freedom of poetic space in our universe? Will that expand beyond the simulacra of being? My work probes these issues through the use of the grid and nature as representative of our spiritual hopes and dream states in the pursuit of the transcendental stillness of our souls. I am currently centering on the search for the genome within this context and this will be apparent in the paintings I submit.

I have been studying the works of the great French Postructualists: Foucault, Deleuze, and Bachelard, as well as Barthes, Sarte and Berger.

Our lives are formed and informed by the experiences of living in the most exciting and promising time of our history, yet we also face unbelievable dangers and destructions adjacent to the limitless possibilities of our future. In the grid of this context, our everyday art and architecture exert great subliminal forces on our daily physical life and ways of thinking.

Most of the works are hand crafted wood panels from mahogany or birch with sides and back completely covered in a thick coating of beeswax, which protects the work from moisture, temperature changes and insects. The beeswax technique was attributed to have preserved the Fayum Greek sarcophagi of the Getty collection in pristine condition for well over two thousand years by the antiquities conservator at that museum.

The remainder of works are painted on linen or duck canvas with the same care and process of surface preparation. The average size of the paintings run about 30x30 inches, with quite a few as large as 4x5-6 feet and a running link of miniaturized flat panels in series of 12-22 which occupy large wall installations. The smaller pieces are made from a variety of materials, with the smallest undocumented because of their large numbers produced.

This work is dedicated to making sublime spaces wherever we may be. May they bless, strengthen and inspire you in the search along your own journey.