My work is inspired by current events. A wide variety of issues - from environmental crisis to international politics and war - feed into my paintings and works on paper. Sometimes the figurative elements in the work are very clearly presented, and other times they are abstracted to the point that they become nearly illegible.

Many of my recent paintings are meditations on the obscenity of war as well as its tragedy. During the Kosovo conflict of the late '90s, I was struck by the reporting of rape being used as a war tactic and torture method. At that time I began combining images of pornography and combat to examine the interaction of sexual energy and the military. That work led to an ongoing series where nude figures coexist with visual themes from various media sources.

Today we are moving into a new social context of war fatigue. Our anxieties are shifting towards the collapse of economic well-being, and Earth’s rapidly changing climate, creating a blur into an uncertain future. I am experiencing a transition in my work as well - moving away from rendering figurative subjects in favor of more fragmented images. I think of my newest paintings as destructed landscapes. They allude to debris left in the wake of natural disasters. The content of my work is evolving in a circular form – the war paintings also being about environmental destruction – specifically how our reliance on fossil fuels exacerbate both international conflict and instability, as well as global warming.

In spite of all the charged subject matter that is filtered through my work, for me painting remains primarily an aesthetic experience. Although many issues are referenced in the work, the work itself remains non-linear, seeking to raise questions rather than to give answers. In this I find hope.