I have, for better or worse, a keen sense of my own subjective reality. The reason lies somewhere between the lines of my personal history and the consequences of my genetic disorder. Unusual circumstances, be as they may, have led me to be acutely aware of myself and how I function, attentive to matters of perception and involuntary mental states and actions. The examination does not end within my own internal machinations - naturally curious, I tend to pick people apart and puzzle them out, which developed in me a pronounced interest in neurology, psychology, memory, and perception.

My work, then, delves a lot into different aspects of identity and perception, either my own or others’. Whether narrative, abstract, or documentary, it is designed to be evocative. The pieces can be troubling, enlightening, intellectually stimulating, absurdist, or just vaguely surreal, but in each case I hope the individual is faced with something they have no prior knowledge of - or frames the known in unique ways - something that takes them outside of their personal space and deters subconcious automatic responses. In essence, to create a situation that requires an active mind to firmly address it. While frequently my works are heavy with personal and shared meaning and symbolism, ultimately whatever is taken away becomes almost inconsequential as long as some essential reaction occurs.

Perhaps these aspects derive from my own personal choices. I was lucky to have received a thorough foundation, inspiration, and education from those around me as I grew and matured, and managed to carry with me tools to find self-created meaning outside of the post-modernist trend toward nihilism. That meaning, if one would refer to it as such, is heavily related to experience, something that holds great value to me. I am constantly chasing down the poignant, the aesthetic moment, that dream-like surreal state that is either more aware or more dream-like or some uncertain in between. I often consciously imprint certain moments inside my mind for later recollection. I try and hold onto them so that they might directly or indirectly influence my art, as if painting from a palette of experience. This manic chase, this inquisitiveness, leads to experimentation in materials and concepts, to a constant need to create and express, to push boundaries and climb walls just to see what's on the other side. Just to see what happens.

That is another aspect that expresses itself in my art and dialogues quite frequently – the transient, the in between, the incomplete, the process towards. It has been said that Da Vinci had a similar obsession toward the act of doing or becoming. This tendency rears its head conceptually and materialistically (I am as much a firm believer in the aesthetic idea as the aesthetic visual). In this vein, much of my work features light and shadow, translucence, reflection, illusion and materials such as glass, wax, thin fabrics, plastics, vellum. And however precise I am, however clean or heavy my lines, it is balanced with a love for texture, for surface, for aspects of the material that are impossible to control or sometimes even recreate. The art creates itself alongside me, I simply have to go with the flow - as one might imagine a raft at sea.