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. 

My current paintings are inspired by digital photo manipulation and the specific languages of Photoshop or image filters. functioning like a language or narrative device in popular culture, these edits are often framed to allow for an “easy/quick read”, and typically the inverted image is associated with horror or crime dramas. By decontextualizing my subjects, however, this language is instead exploited for its aggressive strangeness and potentials for abstraction. I want these paintings to trigger some recognition, and perhaps preserve some of the paranoia from its previous life, while denying the visual cliche its intended legibility.