"I'm working through ideas about displacement—a psychological and spiritual displacement, or rupture, where the coherence of everyday life starts to fall apart."
"Painting feeds into the ceramic work through colour and pattern, almost as if the surface is trying to behave like a skin that wraps around an object."
“The contrast between a cold exterior and human body language interests me because it reflects the world we're living in. Technology is becoming increasingly present in our lives, but we are still human with emotional experiences.”
“This is one of the things that I love about making art - that I can say more than I realize I’m saying, that my decisions in paintings can be read differently than I expect, and that art is a great place to play that game with myself.”
“They are sexless, zombified, completely exhausted, absent of soul, objects, bodies. But they are my bodies. My fictional family members, in a way. These are the ghosts I take with me.”
“My work addresses the parallels between civic incursions and womanhood as well as other communities across gender, ethnicity, and orientation. There’s a deep sense of embodiment for me with things people don’t necessarily notice.”
“It is the place where the fast, glowing, digital image slows down and becomes material. That transformation is still the part of painting that feels most meaningful to me.”
"A successful painting for me is one that seems familiar, comfortable, almost reassuring yet also slightly disconcerting or unsettling or with an odd sense of melancholy. I sometimes think of it as comparable to visiting a place where everyone you knew has long since gone."
"It becomes soft, touchable, almost teddy-bear-like, but at the same time unmistakably artificial. It has the quality of a copy of a copy. That contradiction is important to me."
"The physical process is actually the whole vehicle of meaning for me. I don't really see painting as something that can have a predetermined meaning and the end result will remain that way."
“I enjoy creating works that invite the viewer in. Using familiar objects creates an immediate point of connection and removes some of the pressure people often feel when approaching contemporary art.”
