My work functions simultaneously as a group and as single pieces that convey various levels of communication. The work as a group combines the fusion and ruptures between a formal anatomical analysis of the figure and issues of representation involving the body.

In each work the formal and expressive elements of the figure(s), their space, the mediums' colour and physical relation to the surface synthesize into an emotional impact that only hints at a narrative. There are only fragments of logical depictions involving the figure's situations, actions and reactions. I consciously present an ambiguous narrative in order to give the work layers of meaning. The only consistent narratives portrayed in the work are the manipulation and/or reaction of the figures to some negative unknown force. The narrative is only completely realized when it is perceived that symbolically the figures and their relation to each space reflect human existence. This symbolism of human existence is critiqued in terms of a reflection that the viewer can sense as being illogical, unsettled, vulnerable and conflicting.

In my past work and the recent process-oriented work called Live Drawings conscious attempts are made to work against stereotypical methods of representation used by popular culture media and advertising. Both bodies of work enter into a dialogue that acknowledges issues of power, sexuality, gender, and aging.

The ambiguous hand gestures of figures in my earlier work had visual similarities that seem to have anticipated the current use of sign language and most recently hockey referee hand signals. In some ways the use of the sign language and hand signals operate as loaded words and give another layer of meaning in the work.