Embedded and embodied experiences are what I seek in my work — a sense of connectedness, with one’s own body, with others, and with larger structures, that is elicited by working with materials and by viewing material explorations. The meaningful relationships and human encounters that are in part enabled and often subdued by institutions, such as schools, are where my work is rooted. During this political moment in which public education is highly contested, both threatened and threatening, and at this moment in my life, having been a public school teacher, the project of schooling is the site where my work often takes shape. Ruptures and starting points in my work come out of experiences and engaged conversations in the offices, hallways, and classrooms. I find that the inherent contradictions in art, in being an artist, come to the fore when they rub against daily experience. I often ask myself, how can I make art that listens to this friction and the factors that produce it?

The materials and methods that I choose allow me to focus on that friction. I set limitations to work within to produce tensions and ambiguities in the work that I live with and sense deeply within our world. Dry-erase coating holds the possibility of infinite change in a painting, but precious marks are easily wiped way. It retains the ghosts of handprints, the shadowy, watercolor traces of work that has been done and points to the work yet to do. Paint is at once malleable and liquid, responding to the most subtle touches; though it captures, holds and fixes when dry.

The different forms of representation that I construct with these materials provide fertile ground to explore the space between description and critique, between fabrication and lived experience, and between incessant, constraining minutiae and the schism of transgression. This task of non-neutral description engages a politics of attention. Where do our eyes drift? What do we notice? What do we ignore? What requires protection and cannot be written on? What must be redrawn?  Where do we find margins, cuts, dents, or holes to operate within as humans?