My paper-based work begins with pencil, which I use to explore a variety of effects and relationships.  I am particularly interested in geometric clarity, the interplay of figure and field, the use of gradation and the illusion of space.  My aim is to find and sustain an in-between state, where the initial perception gives way to an alternate, competing perception that challenges routine assumptions and invites the viewer to discover multiple interpretations through an ongoing recombination of relationships.  

The pencil work also serves as preparatory study for larger-scaled prints, which provide me the opportunity to achieve the pencil-based effects with greater precision and impact. Even more than the drawings, the larger-scale etchings are a direct, pared-down expression of the essential nature of the work. Their deliberately spare vocabulary and monochromatic palette serve to underscore the surprising richness available in even the most limited of means.

The work summons revered childhood icons like LPs, psychedelia and muscle-car carburetors for their emotional resonance.  Though singular in composition, the work exists in a constant state of flux as it reverberates between past and present, flat and sculptural, illusory and real.