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i like to play a game in the studio where the only rule is that i cannot buy new materials. instead, i try to convince myself that there is already a good painting somewhere in my studio, in the heaps of scraps from previous works and housing renovations and rusted buckets of salvaged house paint. while my marks maintain a child-like innocence, the weathered materials evoke nostalgia. when combined with the structural organization of the pieces, this suggests an urban, industrial history, and yet does not impose any concrete narrative on the viewer. the process of painting, cropping, and re-assembling allows me to synthesize disparate ideas— in order to create works that are simultaneously spontaneous and available to the accident— yet are entirely within my control.