I am inspired by the everyday objects, patterns, games, and linguistic commonplaces of American customs. I use, re-arrange, and re-present ordinary materials and signs in order to explore notions of individual identity, objectivity/subjectivity, history/fable, and the inherent value implied by a gesture or act of intervention. Many of my artworks can be read as waves, signals of hello or goodbye, in which the meaning of the work exists in the participants' ability to infer meaning based on their knowledge of everyday media, beliefs, and situational context.

To date, most of my creative projects have drawn on the use of repeat patterning and symbols as a graphic convention to create images and as a metaphorical means to study human behavior and modes of reasoning. I have been consistently working with a vocabulary of themes and motifs inspired by the folk traditions of the Pennsylvania Dutch, in addition to exploring the technological translation of symbols and information within contemporary culture, e.g. the coupon dash, scantron test forms, ICU life monitors, and a recent work "Tulipomania"/EverQuest— to explore the ephemeral and implied value of temporal things (tulips and video game icons) in relation to human desire.

How are symbolic meanings and technological functions translated and appropriated over time? Are there connections between the practical meanings we apply to symbols and technology in the present that can be linked to past histories and visceral explorations of the subject? These are questions I seek to ask in my present work. I wish to immerse myself in the research and application of vocabularies of motifs, encoded information, and operatic functions in an attempt to make non-linear and abstract associations involving the "perceptual event" of experiencing signs and signifiers—as static and moving images. Conscious and subconscious methods of interpretation come into existence within my two-dimensional and time-based work, asking the viewer to mimetically identify with the subject, while considering the source, method, and sequencing of their display.

"…The implied horizon of our ‘habits of seeing’, structured by language, narrative, identification, and intentionality, and that which perpetually eludes and confounds such structuring" is of great interest to me.