I am drawn to the potency of an arrested moment stripped of context. My work has always grappled with narrative, revealing connections between contrary or separate things. It debates the nature of truth as something internally embellished or externally confirmed.

The compositions are often dominated by a kind of portraiture. Recently I have worked from old, sometimes damaged, candid family photographs. Singular postures are isolated in mid-action. Because the source imagery is typically flawed or obscured, its reproduction involves generous extrapolation. Who is this person? What is about to happen? What has already happened? What do they want?

My work becomes embellished by what I remember or infer of these people and moments long gone. As an image is broken down and recapitulated, linear marks derived from biology may be threaded throughout. The tension between the graphic marks and the dimensionality of the figures reflect the duality of internal and external truth. Ultimately the arrested moments float unresolved between abstraction and articulation and beg for meaning to be drawn between the fragments.