Natural space and the energies which either impose or relate themselves to it have long since been a prominent focus in my work.  My concern lies with how this space is inhabited, the past, present and future traces of human existence upon it, and its resonance in the life and psychology of all sentient beings.  There tends to be all too little reflection of our surroundings, disassembling our most organic ties to the environment and scattering human values firmly held for centuries before the flux of information and technology.    To construct a world for one species without consideration for all others and the elements in which they dwell in isolates the design to a flat and oppressive space.  This surface masks not only its faults but its strengths; all that was accomplished and destroyed before; and clarity of future potential.  As art at the very least documents life and at its best parallels it, I aspire to create imagery through the discovery of land, architecture, culture, and life that concentrates our strewn innate values alongside to those of the present and future. 

Painting in particular becomes a sensitive vehicle to explore and realize these ideas, along with my use of photography, video, and sculpture.  It was not until my recent trip to France that I began to incorporate sculptural elements into my paintings.  This new patterned texture, often as ornate as organic to the painting, was integrated in my work after a great interest of mine in the older buildings in France.  Churches and castles built centuries ago illumined the surface of my canvases; remnants of stained glass and architectural detail took form into reflections of nature, creating a delicate synergy. 
           

I employed motifs often in my work when I first began painting, as a series of superimposed impressions to observe an emergence of symbolic energy.  I then abandoned all symbols from my work to obtain an inherently structured field based on a subtle coherence light, texture, and color.  This freed me of any dependency on imagery to construct, and allowed me to reflect upon the purity of physical and biological energy.  Motifs finally immersed themselves into the natural landscapes of my work once again in France; patterns woven into each painting gave structure, became lost and then renewed as light changed and dimensions varied.  The two elements were not split, nor dominated the other.  As in the beautifully preserved churches, towns and castles I studied; the realms of human creation, environment, and reflection concentrated into a focal point of harmonic natural expression. 

I feel that the more interaction I have with others, the more responsive my work becomes to individuals.  Dialogue between different backgrounds, languages, cultures and opinions strengthens my ability to carefully apply imagery that is easily relatable to many spheres of human experience.  In life I appreciate different perspectives, so that I may contemplate on them and develop modes of expression that amass all unique outlooks. Art is the greatest language known; it gives us the power to communicate through barriers that hinder discussion by other means.   To be able to make my work accessible to as many people as possible is important to me, for it is a connection with life that my ideals thrive on.