My work is process-based, often with a particular image, material or juxtaposition as its initial catalyst. I tend to come to understand things slowly, and labor-intensive processes allow the work to develop layers. Rhythms and patinas emerge over time through repetition and tinkering, allowing for the catalyst to be impulsive while the product is gradual. In this way, my work is a tool to get under the hood of images, sounds and narratives—their mechanisms of production and systems of consumption—and meditate on the slow cooking of meaning and influence that they provoke. I think of my materials as the residue of visual systems: the popular images that swarm our minds; the narrative formulas that contain our stories; and the artifacts of digital information. My projects are invitations to notice meaning being made—to crack these systems open, make space in the mind, and meet somewhere between attention and distraction, communication and oblivion. I employ tactics of abstraction and ambient composition in which representation is disrupted and intended meaning questioned, leaving only the messy traces of form, color, compression and reinterpretation.