I am interested in illusions, in things not being quite what they seem. I am attracted to painting because it allows me to create an illusion and simultaneously reveal the means of its production. Oil painting’s wet viscosity allows for ongoing shifting of structure; it is does not have to be “either/or,” “on/off,” “0/1.” I prefer to use paint to maximize this characteristic-- its ability to both make an image and revert to material.  
    In the subject matter of my paintings, things are often not quite what they seem: lovely interiors, on closer consideration, lead to disquieting seduction; wallpaper details, luscious statuary, give way to recognition of issues of power and subjugation. I try to make work that has beauty to attract and complexity to sustain observation.

For about eight years, I have been examining fantasies presented in popular magazines. Currently, my paintings are based on photographs of interiors from high-end shelter magazines (Architectural Digest, Nest, etc.) These interiors present us with a fantasy of materialist beauty.
    These commercial images are compelling subjects for my painting because they reveal much about our consumptive desires. I am interested in what these fantasies reveal upon closer inspection and in what is veiled in seduction.
    My work has shifted emphasis from more formal concerns of the interior space towards an = increased focus on the contents of the interiors themselves. “Virginal” portraits, “exotic” bric-= a-brac, male statuary with excessive musculature, colonial plantation wall-paper, etc., are “hidden” images. Used for decorative purposes, these images and their connotations are overlooked within the glamour and luxury of the fantastic rooms. Most recently, my paintings deal with these figures in an increasingly direct way.