My work operates under a post-digital framework of continuous editability, using the physical act of "screening"—filtering, concealing, altering—to explore what occurs to an image as it moves through media. The process begins with an idiosyncratic or chance-based input of data. This “data” could be a color pulled from a swatch book, a pattern from an advertisement, a perverse thought put in writing, a shape from the last picture on my camera roll, an emotional outburst, etc. From this initial amalgamation, the image is continuously abstracted, disturbed to the point of discovery.

I use various digital tools to disrupt: cameras, projectors, drawing software, textile printing, and so on. Through this workflow, the composition fragments, cartoons, and re-disseminates. They’re suspended on stretcher bars only to be re-absorbed by an ever-changing digital network – a network that has become integral to our existence, a global practice of abstraction.