My work is based around a few guiding principles: to avoid thematic and formal repetition as much as possible; find motivation from a number of sources including science, pop culture, clichéd artistic conventions, everyday occurrences, myth, history, and others; and search out and make room for strange associations both within a single piece and the overall body of work. This last principle is most important because it is a technique that fundamentally informs the first two principles.

I am committed to understanding the art object as a puzzle or problem to be solved by the artist rather than passing the responsibility to the viewer. To that end, I may begin working with an idea but never with an end result in mind. Then, throughout the process, I pause to question where that opening idea and its subsequent reactions have taken me, and what the next logical step should be.

This questioning opens the work up to the strange associations on which I rely. By researching images and topics, and mining my personal histories in response to these associations, I find connections that, although unusual, are completely logical and relevant to the specific object. These associations affect all aspects of the work, including: color choices, imagery, media, and compositional decisions.

Using this methodology, the ideas and internal logic vary among works, but each grows, changes as necessary, and approaches resolution until reaching a point where no more choices need to be (or can be) made.