The inert surroundings of our lives have become so common to us that we often dismiss the individual uniqueness of the items, placements and juxtapositions that make up our landscapes. With the inundation of images and information that we encounter, we forget to recognize that there are no “ordinary” objects, configurations or arrangements.

      I treat these undistinguished visual encounters as transformed icons in my paintings and three-dimensional objects. The images are removed from their original landscapes and brought back through memory. They are then distilled and isolated into simple and iconic, heavy-handed drawings in which they are arranged on a picture plane or re-made into new objects to create a visual language.

       Similar to children’s drawings, my focus is only on the most important parts of the experience or “moment of discovery.” Objects and their color are often distorted based on their importance rather than their physicality or structured appearance. I abandon all unessential information, and the viewer becomes responsible for filling in the details.

       Each viewer carries a certain amount of pre-conceived information and uses personal experience to finish the image in his or her mind. The information presented draws upon those experiences to keep the viewer interested and intrigued about the source of a particular work without being too specific. These images walk the line between being comfortable and familiar, and uneasy and irrational, causing the viewer to have a “moment of discovery” similar to what I experience when I encounter the original object or scene.