My work is formally about mark making. My initial compulsion comes from the materials I work with. The imagery generated is an evolution of the improvisational and economic working of these materials. The manipulation and abstraction of loosely representational imagery has developed over time into an idiosyncratic language appropriated from pluralistic cultural traditions and deeply informed by the phrase that no French man has ever coined, or would take credit for- Le Juvenile de Vive. This language is fueled by experiences molting from my day-to-day toil in the aberration that is temporal existence. In this sense, they are diary or journalistic in nature and share some similarities with the literary traditions of underground comics and their autobiographical tendencies. Direct historical influences include Emaki-mono of Japan, Mixtec codices, and Russian Lubki. Translation: I like to draw a lot. I draw a lot of little drawings. I like using sumi ink because it puts down beautiful, flat, dark black lines. Drawing to me has always been about space. The surface I draw on is important. The drawing as an object, it's physicalness and how it occupies space is something I find interest in. I also construct props that accompany the drawings. These props are made of solid wood and plywood scraps. The end result is a sense of non-sequential narrative filled with multiple smaller narratives, immersed in a space of inconsistent scale. Maybe it is the combo of displaced ubiquitous materials informally hung in an atmosphere of vertigo and detachment. Lately this has found expression in large figurative pieces made of wood using the bandsaw as a drawing tool, working from the wood scrap pile in a bricolage manner I improve narrative to develop ideas I am working through.