My monumentally scaled oil paintings reference 17^th century Italian Baroque art and architecture, and my current work uses the period’s tapestries in particular as source material. The paintings overlay multiple vantage points, implying dense, open-ended narratives and revealing often-contradictory spatial perspectives. They examine the period’s emphasis on grandeur and theatricality. Building up complex imagery that emerges, and suddenly disappears, the paint application often assumes a distinct identity that recalls various other visual “languages” such as mid-20^th century abstract expressionism.

I often merge my own biography, interests, and anxieties with the myths, history, and collective identity revealed in aesthetic movements. In so doing, I hint at the potential for painting to transcend any particular moment and to speak to a more intuitive understanding of the world.

The illusion of pictorial space is combined with pure delight in the act of painting, and a consciousness of the body in action --a reality that is then mirrored in the image being painted. In my last exhibition, a large panel painting became site-specific when I continued the image onto the wall surrounding it. I sense this as a new direction in my work, activating paintings with the architecture, expanding into space.