Interpreting a three-dimensional form into a painting is the ideology behind my current body of work. My paintings have found their place somewhere between representation and abstraction through deletion, isolation, and exaggeration of inanimate design items.
I am attracted to modern furniture, lighting, and accessories because of their inherent abstract structure. Through abstraction, I am able to capture the spirit of modern design aesthetics while creating a new original entity.
To reinforce objecthood, physicality is stressed in the work through the evolution of material use and how it relates to the forms inspiring the paintings. This illustrates one paradox I find in painting; it can be referential of something or an object itself, yet these two opposing views are really inseparable.