Since the fall of 2001 the content of my work has examined the history of nuclear arms in the United States. Included in my studio investigations have been scientific, previously classified military documents and media related material. Works created from these investigations have been realized in various media including: painting, photography, digital imaging, and video. My interest in this content spans the scientific, social, and political. In particular, however, the impetus behind the work is a desire to re-examine memories of trauma, as well as fear and anxiety about nuclear holocaust that colored my childhood during the Cold War period.

In my overall studio practice the notion of time informs the content of my work. Whether working in video, painting or drawing, singularly or in juxtaposition, I remember the history of a moment or anticipate one that is yet to pass. The act of remembering and recalling memory allures me from the perspective of the inherent futility and romance of trying to grasp something that is temporal and fleeting in nature.

When juxtaposing traditional mediums with technology-based mediums, I investigate the dialogue created between them and their relationship to time. Specifically, how each medium communicates socially and culturally, as well as embodies time from the perspective of process, materiality, and philosophical meditation.

The role of perception as it pertains to the human experience and the creation of memory is also fascinating to me. By disarming the expected my hope is to create in the viewer the sensation of seeing. Ultimately, my intent is for the work to evoke a heightened quality of attention to life.