I’ve always seen art as a problem-solving tool, and as a kid, there were plenty of problems to figure out. A standard retreat was to take my sketchbook into the nearby woods and explore the fascinating solutions nature comes up with for all sorts of things. Looking just at seedpods, for instance, reveals many repeating patterns, sensual curves, and pregnant forms that twist and burst open to release seed, etc. I had an endless fascination for looking, and it was inevitable that I would become an artist.

Hand gestures captured in sand or on a scanner, are the source material for my current body of work. Whether photographing tracings in sand, posing my fingers in different positions on the scanner, or following the light bar with expressive movements, the resulting images offer an abstract starting point. Being physical during the creative process is important to me, because it allows me to express intuitively, connecting with my subconscious. Technology can present a challenge to this process, inserting the logic of software and hardware. To overcome the roadblocks of logic while working in a medium I cannot touch, I focus on issues that inspire me regardless of technique, such as layering organic forms, searching for emotionally charged color combinations, and creating illusions of light and depth.

Although this work is digital, the origins are grounded in the physical world, borrowing the essence of gesture to imply botanical ideas.