My new body of work springs from my fascination with attraction, seduction, sensuality, beauty and grace.  I employ anatomical fragments along with other recognizable images to create work that reflects my thoughts and ideas on attraction.  Many of these ideas are a play on a romanticized view of the opposite sex creating a desire for the unattainable. My work delves into the old cliché, the grass is always greener.
 Fishnet stockings, ram horns, and motorcycle tanks are just a few of the symbols used to lure the viewer into this exotic blend of form and surface.  Arms, legs, and other figurative elements are often used as building blocks to create larger forms such as wish bones, hearts, and other abstract shapes.  Combining imagery in this way enables me to build large singular forms out of many smaller ones.  This building approach lends itself to a technically challenging studio environment and also satisfies many of my formal curiosities.Through this work, I’m aiming to seduce the viewer’s senses, while exploring the boundaries of attraction
我作品的新主体来源于我对吸引，诱惑，纵欲，美丽和优雅这些东西的迷恋。我把解剖学的碎片原理和其它可认知的象征结合在一起，来创作出能反映我思想和观点的作品。许多这样的观点就好比是一部戏剧。这部戏剧它就像不同于性爱方面的但又具有浪漫情调的风景画，这种画面能让人产生可欲而不可求的感觉。我的作品陷入到了旧的思想中，在我看来草地一直是绿油油的。
鱼网状的长袜，公羊的犄角，摩托车的油箱仅是几种象征。这些象征把观看者带入一种形态与表层相混合的异国情调中。胳膊，腿和其它的身体部位经常会被作为主要部件来创作出较大的作品，比如说如愿骨，心脏和其它抽象的形态。用这种方式结合形象化描述不仅能够使我创作出许多小作品而且能够让我完成大而独特的作品。这种构建方法迫使工作室环境要经得起作品在技术上的变化。同时，这种方法也满足了我对外形上的许多好奇心。当我通过作品探索吸引力的极限时，我也希望能诱导出欣赏者的感受。