All my work is dependent on form, color, and composition. I believe the most complex emotions can be evoked from the simplest of forms. My style explores the relationship between man-made structures and the digital world; the idea of recognizable shapes and structures living within irrational thoughts and emotions. I find beauty in things that are cast off. When I find a surface I am intrigued by I bring it back to my studio where I paint on it or scrape parts of the surface and then scan it into Photoshop and begin the transformation process. Occasional I paint directly on to the photograph before scanning using a combination of materials such as pencils, acrylic paint, Marshal Oils or watercolors anything to provide more texture to the surface.

I work very spontaneously and become more detailed as the composition starts to show itself. I think my photo-paintings as two separate entices, one part non-objective abstract art and one part traditional photography, brought together to fashion something new. As an artist, this combining of two different medias intrigues me. Texture is of primary importance in my pieces. I think of the surface of my photo-paintings as the most important component of the picture. As the piece takes shape over time it becomes a richly layered deposit of color, texture and form. It is a repository for subconscious thought. The final surface not only shimmers with vibrant hues but also projects a multidimensional vision. I use a systematic approach that achieves an intensity of color and a rich deep surface that has both a physical and visual texture. When I feel a balance is reached between chaos, control and the intensely physical connects with stillness the photo painting is complete. To paraphrase the great painter Jasper Johns "everything you need to know about my paintings is on the surface."