My work has always at its core been an exploration of relationships. Over the years, the specific focus and manifestations have shifted, but I remain interested in the ways in which one element influences the perception of another.

With my earliest figurative work, I focused myself primarily upon the dynamics between individuals. As I found myself unsatisfied with the traditional expressionistic approach, I began seeking ways to push beyond color and line as mere vehicles to portray mood. I began to see the design elements as equally valid subjects to pursue. With this in mind, I began working to create a series of modern archetypes cropping the figures to remove faces and details to make the scenes more generalized and relatable. While I attempted to convey scenes of the ordinary, I maintained my love of dramatic color. I worked to push colors outside of their conventional uses creating reds that recede and painting depression with a pallet intense enough to burn one's retinas. Over time, in my attempts to capture moments in time, I began filling notebooks with gesture sketches. I continued my reduction pushing my figures further into the realm of abstraction, and I poured over my sketches pulling out my most commonly repeated lines and shapes to develop my personal iconography.

As my work became increasingly abstracted, I heighten my exploration of color through layering and juxtapositions as well as examining the effects of play with line, shapes, figure/ground and most recently, the relationship between art and the viewer. I have begun a series of works I refer to as kinetic paintings, which involve multiple panels mounted to allow the view the opportunity to rotate the paintings. I strive to create a work that is a collaboration between artist and viewer to create a dynamic, fluid composition.