My work uses collage, painting, and photographic processes to explore multiplicity, camouflage, and an expanding engagement with landscape. A long-standing foundation in collage informs this practice—not just as a technique, but as a framework for experimenting with visual perception. Every image seeks to imply the presence of something coalescing while it is simultaneously collapsing, highlighting how our everyday visual processing functions as a highly structured hallucination.
My core research involves recursive looping between photographic and painting processes: painted objects photographed, fragments printed or torn, ad hoc arrangements scanned, and inkjet printed works operate alongside paintings which borrow their collage-compositional language. This promiscuity between analog and digital, photographic and painted, ordered and unhinged treats landscape as a site of overlapping signals rather than a single fixed view.
Ultimately, I see a direct continuity between the mechanics of collage and the functioning of camouflage, as both conflate figure and ground to expose the viewer’s perceptual scaffolding. By drawing on fugue structures and signal-versus-noise, the work challenges how we read complex visual fields, keeping the image hovering at the unstable threshold between resolution and disruption.
