Converging through drawing and painting, I develop speculative locations that reach the sensation of “place” through pure abstraction. Though signs that develop have no reference in reality, they might accidentally reach a configuration that has a counterpart in reality. Deliberately non-site-specific, my processes and materials are portable; never leaving a final trace in the ground I cover. By interacting with terrains of physical or digital environments, I remember fleeting moments of thrill or extreme sensations like falling, shock, or high brightness, causing me to pay attention. How do we grip onto and notice reality in an often hypnotic state of contemporary rhythms? What areas do we avoid or gravitate towards? Can we experience the sensation of “place” in an artificial environment or “virtuality” in nature?

I am curious about the point at which something develops from “nothing”; a place within a non-place, attention in hypnosis, estrangement in artificiality. Oftentimes starting from a spontaneous mind-pop of visual imagery, I capture a sliver of a sensory impression before it disappears like radioactive decay. Other times I use automatic collage to reach a feeling of an unreachable place like someone else’s memory or a machine’s imagination when it has developed agency beyond our algorithms. To capture these, I create settings for myself that are similar to a thermoelectric cloud chamber. In this autonomous and controlled environment, I go through a layered process of moving between media from automatic drawing to digital rendering, sculptural maquettes, and sound. Pit stops in this process become visible as drawings or paintings – a top view or slice of a constantly mutating process of the discovery of new forms fizzing in and out of existence.