I see my work passing through the spheres of history and process, in an attempt to understand how knowledge and comprehension are arrived at. Images are dragged through space: digital, physical, imagined. They proceed to pick up whatever might attach to them — exploring aspects of material, quotational, image and sign, how they are represented, how they might be re-presented, and contextualize one another. My paintings are friends. Sometimes they entertain other relationships. Like the Monolith in 2001: A Space Odyssey, the form signifies a trigger-able event. It aims at a reversal of Modernism, or at the very least one constructed by variable loops. One that looks back at itself and recognizes its own shape. The ape now proceeds to look at the Monolith and recognize their own reflection. 'I know what I am and I like what I see!' the ape thinks. It — the form — is in observing, unveiling and/or discovering sets of relationships where art might exist.