Coming down the golden hills of hyperreal California, surfing ambitious and violent waves of colliding personal and mass histories, my attraction to mass art was birthed - not because I like it, but because mass art is how one deals in the social realm. Mass art functions as the surface layer of diversity; a means to manage the masses within my birthplace of California. 

Mythos and monsters of the frontier; colored cowboys on children’s television programming; mauve Made in Taiwan mold-injected miniatures for ritualized play; archival stills of mysterious spaces and monuments: a colossus speeding, an exertion of smoke and flames; smoldering lamps; spotlit padded, pedicured, tamed, and isolated kosmos and cosmeticas.

Parody, pastiche, satire, and the sensual.

I use materials which hold certain social functions.
I pay homage to color field paintings within my textural and tonal shifts. 
Bodily references, hovering between representation and abstraction, obscure into the uncanny within my art. 
I chose and interpret styles from the past, never obscuring these motifs, but allowing for a specific vibe, an existing ambiguous presence.

I’m interested in the history of certain forms of popular culture and standard folk tropes, which gallop through genres of all sorts. 
This is a historical analysis: where do these forms come from? What social function do they serve? 

What about cultural erasure - fake amnesia - of history? Why does the “capitalist star system” - where the old has to be made new over and over and over again, a fake politic - endlessly need to replicate itself while erasing the origin? 
This is cultural erasure - a real erasure of history, and that bothers me. 

Primarily, I’m dealing with aesthetic forms - I’m a formalist; I think about form and play with it. I enjoy it. 
I’m also a perverse formalist - I like to revert and pervert it - that makes me a deconstructionist in a way, and that’s the politic of the art.
I’ve always found deconstruction to be funny because it is de-contextualization.
Most jokes are based on de-contextualization - taking something out of context: that’s funny.
Therefore, irony functions as nothing else but the means to step outside of one’s self and go, “oh, I’m here.” 

I see all art as being a kind of materialist ritual; I am therefore trying to develop a kind of materialist ritual.