My work is concerned with the conventions of painting, its history, strengths, and shortcomings. Class and labor are also important to me. My work employs the language of painting as well as the stuff outside of, but related to it - packing materials, frames, sketches, mock-ups, modes of display, installation, support, and critique. I’m interested collapsing contradictory ideas into one cohesive thing: Can a work be both huge and small? Can a work be at once absolutely abstract and absolutely representational? Can an image and an object be the same thing? I try to resolve these contradictions with humor and empathy. The material, formal, and conceptual elements in my paintings derive as much from the two decades I’ve spent working as an art handler as the two decades I’ve spent working in the studio.