My studio practice centers around a process called PLAYNTING. This self-prescribed term involves the synthesis of painting with additional forms and actions (PLAY + PAINTING).

In this 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.

In painting, all materials have a purpose or a process, but, as they interact as raw elements, new cycles are activated. I play within an intermediary level, where wood, canvas, paint, and all the scraps and tools of the studio can be combined to question categorical structures. In drawing, both the preliminary and the primary function as an opportunity to explore flexibility. As I use the actions of painting and drawing for my initial structure, I also source word pairings or phrases that consequently construct layered and often times contradictory statements in order to challenge, subvert, or exploit beyond a base structure of meaning. 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 is on top of the other, but rather how each is related to the other. These works rely on optical interplays of media, composition, and definition to force a decision, evoke a sentiment, or alter a perception. This playful integration of materials enables interpretation and promotes interaction.

My practice is not a closed loop. It is a chain linking materials from process to process. As works are re-purposed back into raw materials, the waste and by-products present new opportunities. My work can only be completed through this sense of renewal.