The work enclosed incorporates imagery deduced from natural, organic forms like rocks, food, and dried pieces of clay. The grid paintings function as hundreds of one-shot, individual paintings grouped together. Once the organic properties are placed within a geometric system, a dialogue of patterns, both symmetrical and asymmetrical, characterizes the reciprocal relationship. The patterns exploit a process of selective seeing, one that is initiated when the eye recognizes an intricate section or detail before the larger composite. Patterns represented by this form of perception thus result in a form of imagery construction: when the eye focuses on concentrated areas, the latter becomes a painting and an image within its own frame, whether or not the grid actually exists. As a result, imagery from these concentrated areas construct a compound image once frames - literally in the grid - become aligned with one another. This alignment of frames is constructed in order to create movement like that characterized by a film reel or any other contemporary media. The energy borne from movement is, in a similar fashion, evidence of energy and rhythm that represent internal experiences derived from external stimulus.

The patterns I represent, both formal and conceptual, are also based on individual patterns embedded in my daily functions and patterns observed from daily occurrences. These patterns, in turn, portray the process in which functions, such as painting, are performed; they are also indicative of my thought process and how it constructs imagery. Where I find great comfort in some patterns, I find it nearly impossible to break the ones that inhibit me. Therefore, my particular way of seeing and thinking is a form of self-representation, as well as a search for individuals who may speak the same language as me.