In both my drawings and paintings, I work responsively, constantly altering relationships in a process of accumulating, assembling and revising. In nature, the way organisms and systems seek alternative states of being by shifting slightly from a designated path is understood as the adjacent possible. I refer to this phenomenon by arranging and rearranging relationships in my paintings to uncover unexpected anomalies. As I adjust one relationship, another slips out of balance. Overlaying, abrading, reconfiguring, and repeatedly repainting and revarnishing create slippage between the past, present and future, as accidents and change remain visible in each work. Although abstract, the work comes out of a personal awareness of the complexity, subtleties and coincidences of being in the world.

In the drawing series, LifeLike, I manipulate powdered graphite on sheets of mylar through a process of documenting what I imagine I see as the velvety material is spread, painted, blown, erased, wiped and smudged. While the results are fictitious, the concreteness of the illusion I conjure up blurs boundaries between documenting nature and inventing nature. The uncertainty between the two raises questions about what we identify as natural and as credible. Despite the accidental way I search for signs of life in the smears, the botanical/biological forms acquire the irregularities, complexities and beauty of the natural world. Each drawing is named through a similar process: a piecemeal soldering of fragments of sounds and grammatical parts to construct a whole.