Through large-scale paintings, I seek to make order of all that I like around me. Each work is a combination of interests with an underlying story or trigger that has compelled me to make that particular piece. I am very interested in repetitive pattern, texture, and accumulation. I am inspired by common things that I encounter everyday- anything from retro wallpaper designs to natural forms. I am also fascinated by fashion and fabrics along with the evolving color trends that come with the change of every season. However, my former studies in medicine, fractal geometry, and chaos theory united with my long-term fascination with the street art (graffiti and stickers) of New York City are my biggest sources. My interest in biological diversity has become an overall thematic style. The result is a colorful otherworldly environment that incorporates science and pop-culture through my own cultivated visual language.

The self-similar blobs comprise our makeup and that of everything around us. Anyone can relate to these paintings because they lie parallel to familiar experiences that are pulled directly from daily life: social relations and interactions, alienation, survival, competition, illness, and desire. Opposing rhythmic concepts like transparency and opacity, macro and micro worlds, absence and presence, tension and balance, representation and abstraction all contribute to making the pieces a complete whole. The crowding and overlapping of the cellular forms mimic life in New York. At times, the city engulfs us and even suffocates us. Between those forms there is also a tangible emptiness, and I want the viewer to see not only the cellular forms, but the spaces in between.

Ironically, although my paintings are about life on a microscopic level, most are quite considerable in size. In addition to their expansiveness, I strive for a balanced and dynamic composition. As I work, an awareness of subtle changes in the materials is very much part of my process. Layers of paint and collage elements compile a rich translucent topography and contribute to the unfolding story. The assortment of swirls, elliptical movement, and looping forms seem to spill forth from their miasmic sludge.

The inflated ovoids have been simplified and deconstructed to a generic circular arrangement. The obsessive repetition and accumulation of circles, dots, and paint drips gradually morph into pattern. An overall fantastic and cartoonish quality of graffiti bubbles to the surface contributing to the optical experience. The pieces evolve into a cellular landscape or some kind of an ambient galaxy that is accessible through multiple points of entry. This collective ongoing story of pathology and atmospheric turbulence is my place of wonder and dreams. Joining both the luscious and the ridiculous, my aim is to captivate the observer as if he or she were looking at any one of my paintings for the first time over and over again.