PLAYNTING, a self-prescribed moniker and philosophy for my studio production, involves the synthesis of painting with additional forms, materials, surfaces, and actions (PLAY + PAINTING). Through my production of PLAYNTINGS, I develop related works that involve an investigation of the intricate history I am creating by re-purposing materials. These works consider a genealogy or lineage within my practice that follows lines of form, material, and content relationships to interact with temporality and fragility (including pressure, balance, interdependence, and reliance). Through my process I work without knowing what the resolution will be. I observe as materials mingle and react. As I build and shape them, I discover just what these materials are capable of as combined structures. I also source word pairings, arrangements of language/text, and visual patterning to construct layered and often times contradictory statements and surfaces. These works explore intermediacy, the state of being in between, in order to challenge, subvert, or exploit beyond a base structure of meaning. In my studio practice, text, writing, drawing, painting, and construction are not punctuated; they are symbiotic mergers joining thoughts and content together to cross categorical structures. I work within a standard language of form, text, and familiar material, but as I equalize the purposes of these materials, a chance for hybridization occurs. It is no longer how one material, surface, or text is on top of the other, but rather how each is related to the other. These works rely on optical interplays of media to force a decision, evoke a sentiment, or alter a perception. This playful integration of materials enables interpretation and promotes interaction.