I have been thinking about and generating artwork for well over twenty years, and consider myself to be a conceptual or an idea-based artist (non-medium specific), working principally within the framework of semiotics. From this context, traditional artistic disciplines are employed as each particular proposition directs me.

The work generally takes shape within a project basis, and the subject, genre, and duration are methodically determined by designed theoretical parameters. Looking back, one project dovetails or intersects with the next creating an ideational daisy chain. Within these discretely proscribed, albeit interlacing endeavors, a considerable amount of subject matter has been weighed.

I have been examining issues of identity and authenticity, exploring how representation functions, and indexing the social, political, and cultural forces behind our use of language. This, in admixture to investigating the impact linguistic thought and experience have on design, perception, and understanding, as well as analyzing and interrogating conventions of communication.

With some regularity, a curious pattern of seemingly arbitrary relations in how meaning is culturally assigned comes to surface. I have come to the conclusion that no reference is direct, no meaning is absolute, and no reporting objective. It may not be sufficient to simply understand the meaning of things; we may have to discern what things do not mean as well.