After some time spent making realist paintings, I’ve expanded my practice into large and small-scale collages. Both types of work have informed and polluted each other, coalescing around shared ideas about image mediation and manipulation, the iconography of middle-class culture, memories of adolescence, privacy, and the respective histories of painting and photography.

My collage images include found and digitally scavenged photographs, along with graphic design and text. While they were once meant to function almost journalistically in telling a story through image juxtaposition, they’ve evolved into something more excavated, with the feeling of documents stolen or uncovered after a crime. This becomes a statement on digital privacy, permanence vs disposability, and the life cycle of the image in contemporary life. Having spent most of my adolescence heavily involved in now-vanished internet communities, this work is also about loss and an attempt at recouping the past.

In my current paintings, I begin with a single image that I’ve previously altered in Photoshop. While I was initially doing something close to a straight negative image, there are now shifts in color that make it difficult to place the image or decipher it's spatial logic. The influence for these came from my work with photos and seeing how shifts and inversions in color carried certain cultural associations: thriller or horror movie posters, the sun-faded advertisement, surveillance footage, Myspace-era photo filters. I’m interested in this sense of paranoia and distance, and want to explore how my subject matter can complicate their read. They address a type of visual language in popular culture that’s suggestive of something darker or more consequential. I’m interested in what motivates this retreat into visual cliche.