On the surface, my work aims to address big questions in philosophy. Despite any predetermined catalyst for the work, the process itself is comprised of highly intuitive, though earnest decisions. Sometimes these lead to drastic alterations or cancellations and other times to the emergence of an anonymous figure which becomes a kind of satirical protagonist, embodying humanity’s existential anxiety. So often I show up to the studio with clear intentions only to be digressed by the most cursory preoccupations, that I've become a skeptic about my own volition as a maker and as a rational agent. As a result, the true content of my practice at large seems to reside within the middle ground between what I almost made and what I did make. Occasionally this skepticism appears in my paintings at a meta-level as figures appear blind, weighed down, suspended, or otherwise rendered unable to exert their own will. More often it manifests in non-objectivity through the de-materialization of past decisions. My sympathies bounce back and forth between concerns of paint, and the concerns of humanity and my own inner life. Thus, my work is both about, and a medium for reckoning with the absurdity of human consciousness, and paralleled by the absurdity of the practice of painting.