My body of work revolves around the relationship that execution, process, has with meaning. When explored conceptually, this relationship has profound and intrinsic value for both the artist and the work. As such, my investigation into this relationship has fostered a deep concern with identity, myth, and the process of creation. Initially my work explored this relationship within paintings, drawings, collages, and mixed-media, but has since evolved to include sculpture, performance, and video.

From the beginning I was more interested in the act of creating than I was with the creation itself. Working with my father in his wood shop as a youth, I constructed an understanding of craftsmanship that was bound to levels of physical exertion. I watched with delight as my father built my childhood home around me, erecting walls and knocking down others. I saw how the process of creation can have meaning even before it was finished and how important the human body was to this process. From these experiences I shaped my first artistic theories that engaged both the act of construction and destruction within its meaning.

Since that time I have been involved in numerous athletic endeavors, including wrestling and gymnastics, which has helped to expand and evolve these early theories to incorporate the significance that the human body has in meaning and engagement. Alongside this inculcation I began an occupation in the construction industry as a laborer which has helped to further my appreciation of the corporeal and to expand my desire to be physically engaged in my process.

Currently, my work seeks to address the prolific nature of my approach by adhering to a single conceptual framework, the nostalgia for labor. My interest in the plight of the working class has instigated a number of performances and video projects that involve risky and confinable situations. I address the paradigms of art and labor with the mingling of the aesthetic and the masculine.
Attempting to identify with these two groups has led to the production of a series of performances, videos, and drawings, I have titled “Work in Progress.” The title refers to the signage used by the working men and women of the construction industry to signify or caution others of some obscured or unseen process of construction. I adopted the nomenclature as a way of addressing the ongoing nature of the project, my concern with execution over result, and the significance of the concept in relation to a larger body of work. As of 2012 I have executed more than six interpretations on this theme of art and labor.