My work is a contemplation of how the physical design of our surroundings are related to and can influence social histories, also offering insight to cultural practices that inform the nature of such designs. In choosing the subject matter of my imagery, I focus my sights on the fringe of suburbia, and it's various outgrowths; big box stores, vacant parking lots, highways draped with power lines, attempting to locate dynamic tensions existing between the landscape and the homogenous developments quietly dominating its topography.

As a representational image-maker I find myself endlessly fascinated by the wonders of visual perception and the unwavering truth about the properties of light. My choice to work in the intaglio printmaking technique of mezzotint has led to a recent turn toward nocturne landscapes, influenced by the medium's ability to achieve an unparalleled range of value by working reductively from a field of rich, velvety blacks and slowly excavating bright light from within a bold tenebristic space.

I chose to reject the idealized, romantic depiction of subject matter inherent in the history of American landscape painting. Instead of merely creating pleasant pictures, I seek to use the history of both painting and landscape to project a subversive series of questions to viewers; what spaces do I want to live in? What dictates the spaces I live in by default? What are the social and historical implications of our built environments? What responsibility (if any) do I take for the reality of these spaces?