Artist Statement:

My work investigates the conditions under which visual forms carry meaning rather than decoration. I treat art as a problem-solving activity in which form can instantiate information about the world, space, the body, and perception itself. This process often begins from ideas that are initially inexplicit and are developed visually, rather than collapsed into symbolism or ideology. Drawing from figurative traditions, I aim to make works that reward sustained attention, resisting sentimental or illustrative readings in favor of coherence that is discovered rather than asserted. I approach aesthetics not as taste or expression, but as a fallible, objective constraint: something that can fail, improve, and be criticized as a means of insight.

About:

My early exposure to photography and modernist painting was integrated into a religious, homeschooled liberal arts education in which art was taken seriously and beauty treated as something real. That formation insisted on objectivity, but grounded it in doctrine, authority, and justification. I no longer work within that framework. What remains for me is not the method, but the intuition that objectivity exists. My disposition is no longer toward foundationalism, but an engagement with problems through fallible attempts that can be tested, revised, or abandoned.

I draw from philosophy, aesthetics, and the sciences not as systems to illustrate, but as parallel efforts to grasp how understanding itself advances without certainty. Each image functions as a provisional resolution to a visual question, shaped by constraint and open to failure.

If the work succeeds, it does so not by asserting a thesis, but by instantiating its decisions visually. Form, presence, and attention are placed in a relation that can be seen, judged, and, if necessary, rejected. The aim is not to claim finality, but to resolve the problem well enough that more demanding ones follow.