As both a child of the television and an artist trained to paint from observation I struggle to represent the world as it comes already represented: printed, editioned, photographed, pixilated, digitally manipulated, projected, and re-printed.  The various media of our time have determined the way I actually see.

Technological advancements of the past 200 years have made it so that observing the world now is less about interacting with three dimensional objects than it is about watching them passively, in the same way one watches TV.  This is why, for my source material, I turn to family photographs, camera-phone pictures, and internet images, as readily as I turn to the view outside my window.  I treat all such visual stimuli not for what they represent but as perceptual phenomena, each with their own particular visual effects.  So, too, in choosing a source-image to work from, I am drawn to generic, unremarkable scenes that in their banality resist moral and (as much as possible) aesthetic judgment.

These images are thus accessible to as wide a public as possible, and when making them, I try to efface the traces of my own hand – by sanding down surfaces, using unmixed paint directly from the tubes and cut-out sheets of paper to create flat, unmodulated fields of color. 

These processes follow from my belief that in a global culture where individual subjects are linked to one another through market economies and online networks, subjective experience is less important than collective understanding.