Found snapshots, accidental pocket photos taken by my phone, magazine cutouts, a torn paper plate picked up on the street—they have all become grounds for my work. Often these elements get buried in the paint, but I am always aware of the pulse they create under the overarching composition, a call-and-response between paint and pre-existing image. The picture plane is frequently in flux and the imagery is generally a slow burn—color and movement, then images: an auto junkyard and a Mars Rover ("The History of the World"), reflections in a grocery store ("Upstream"), a space capsule ("Rocket Family/Soyuz"), bottles pouring frozen beer into an urban hedge ("Down Pour"), endangered birds and magazines ("Endangered Species"). 

The works on paper explore hybrids of form and material, often using both sides of vellum tracing paper, exploiting its transparency and the response of the crunchy paper to the mediums. The individual parts, including found objects and varieties of mixed media, reassemble into a more fantastical form. 

The “Books” series weaves in and out of my studio life over the years, reflecting my attraction to found materials as well as thoughts about the book as record. The pieces have become something of a journal—there is fired clay from my work at a Philadelphia ceramics studio, found wood from my days of scrounging around the not-yet-gentrified Lower East Side, inspirations from every facet of my work in the studio. My ongoing immersion in 2-D collage and mixed media finds its most solid expression in these pieces. The titles play with my affection for years of paperbacks I cannot part with.

“The Corpses” is an ongoing collaborative-collage project with poet Ian Ganassi, who I met when we were artists in residence at the Millay Colony. The series is a convergence of text, drawing, painting, and found objects, which we've been mailing back and forth between NYC and New Haven, Connecticut, since 2005. To date there are approximately 300 finished pieces, with work-in-progress often in transit. (Website link in categories list.)

Working in the studio in tandem with pre-existing images and found objects transforms the world into material. Always in view—no matter the media—is that click of significance: Richard Dreyfuss shaping mashed potatoes in Close Encounters, insisting, “This means something.”