I want to imagine the staple surface as a protective, third eyelid of the wall. The non-figurative compositions here are speculative imaginings of how a wall views the space it's in, and how the wall reflects back that physical and social space... There is a speculative, architectural quality to the reflections of these non-figurative works.

…As I've worked with this material and this surface over time, it has revealed itself to me as almost functioning like skin or a membrane of public walls.  When I removed the photograph, there was an opportunity to experience the staple as such, as a field that covers the entire plane, and also as a sort of skin that's made of accumulated small pieces. A skin that has breathing room, and that covers the wood, that functions with the wood in particular, utilitarian ways.

One of the things that has always  interested me about skin is that it's a direct function of density in a lot of ways. In places where individual components of skin are too diffuse, skin disintegrates, and becomes irrelevant to the compositional organization, and conversely, if the components are too dense, there is a kind of suffocation of the thing that it covers. These works have given me an opportunity to be rigorous with negative space and to probe the boundaries of how skin can or cannot remain functional, given certain swaths of negative space or absence.