My work as an artist tends to straddle an invisible line that separates two divergent worlds and cultures. On one side is the world of pop culture, national politics, teen icons, and corporate sponsors. On the other is the realm of art and high culture, intellectual society, and pristine white cubes. The first world is ever-present, and nobody can escape it. The other is at times for exclusive members only. Neither world tends to look favorably upon the other, and they both have their reasons. I like to see what happens when these two worlds collide. It's atom smashing on the macro scale.

But, like atom smashing, my intent isn't on the destruction of either world, but of their unification, even if for a brief moment in time, as in the case of Einsteinium. My work culminates in the temporary merging of the two worlds, even if just for one exhibition at a time.

I also create more traditional paintings that are reflexive of this duality, and also cynical of the whole process. In trying to communicate with a public with no formal art background, and using painting as a sort of translator, it's a self- defeating cycle of further separating those that speak art, and the rest of the general public, speaking their respective languages.

Then there's also the self-reflexive aspect of my work. This work is less concerned about anything else in either world, and is solely focused inwardly towards the invisible mind. Here, I examine dreams, random thoughts, and connections between reality and perception, or between knowledge and passion. The mandala factor is in effect here, using forms and symbols to dig deeper into my unconsciousness to extrapolate the hidden truths that lay dormant from a forgotten past, or even a collective history. This is the search of one person to see what binds us all together, and using art as the guide.