In my paintings, I create environments comprised of both abstract and natural elements. I am influenced by geometry and am intrigued by the idea of perfect objects, such as Platonic solids. Yet as soon as I depict a geometric form, the mathematical aspects have evolved into something organic.

On the conceptual side, my work is inspired by polyhedrons, tiling patterns, and parametric structures. On the organic side, I study root systems, plant architecture, and crystal formations. These disparate but intimately related elements, such as a crystal cave and the properties of polyhedrons, compel me to compare them. Which aspects do they share? When do they create tension with one another? My paintings combine these elements and function as metaphors for actual environments, where mental constructs coexist with the imperfect reality of all things material.

I particularly appreciate the abstract works of Wassily Kandinsky, Frank Stella, Ruth Asawa and Monir Farmanfarmaian, and the use of color by Henri Matisse and Richard Diebenkorn.

When working, I paint freehand with only the occasional straight edge. The lines may appear “straight," but are not strictly so. This encapsulates my preoccupation with mathematical concepts as contrasted with physical expressions of geometric form, which reveals that while I can conceive of a straight line I cannot draw one.