“My current paintings depict fragments of the surface of the ocean rendered in a limited palette composed of indigo extra, cadmium red, and white. The imagery comes from my own digital photographs, which capture a level of detail or moment in time that is not accessible through casual observation. The focus is explicitly on the physical aspects of the water, hence the neutral color. To this end, I am exploring the expressive capacity of a palette that, despite its austerity, yields a complex and subtle tonal range. In these works as in my earlier paintings, I use the camera and digital editing to identify and isolate “events” or phrases within the larger world that are at once intimate and universal, timeless and ephemeral. The perspective ranges from close to extreme close-up, sometimes resulting in a composition that blurs the boundary between abstraction and representation. This tight cropping results in a lack of contextual cues (such as a horizon line or light source) which when combined with the essentially fractal nature of this subject matter, render the scale of the original unknowable. Composing works in this way enables me to bring the materiality of the subject, as well as the painting, to the foreground, while leveraging the capacity of emerging technology to influence the manner in which the physical world is perceived and processed. 
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Prior to the ocean paintings, my work has dealt mostly* with meaty, corporeal subjects (skin, teeth, lips, cows), described in richly saturated tones and a variety of deliberate marks that are occasionally juxtaposed with areas of dense, flat color. I am interested in complexity and the coexistence of order and unruliness in the natural world and the human condition. The Flesh Field paintings depict the surfaces of my hands magnified to such a degree that their objective meaning is no longer perceived. Showcasing tiny (about one half inch) stretches of my left hand, and seen from such close range that the folds of flesh and striations in the skin make up the entire composition in most cases, the skin is described as an intricate network of lines and bulges that could just as easily be an aerial view of some fictional landscape or a topographical map. The patterns seem infinitely complex, yet I always locate an underlying geometry that anchors the picture and provides at least the appearance of order while highlighting the dual qualities of vitality and vulnerability that characterize physical existence. 
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The Cherry Biters capture the bite in mid-chomp, teeth tearing at the fleshy fruit, suspended in a macabre state of pre-demolition. The cherry, half-chewed is often unidentifiable. Lusciously rendered in vivid hues, the pictures are decadent, and unabashedly hedonistic, even somewhat lewd. But the subject is something more inclusive than lust. It is, rather, the totality of sensual pleasures involved in the experience: the visceral satisfaction of crushing something plump and firm in one’s teeth, the burst of flavor, the succulent juice, and finally, the satiation of hunger. ” …edienadelhaft.com