I like to think of art as a distinct kind of language, a unique and utterly precious form of communication that transcends the limits of any other (though it has its own limitations). My artworks are usually in some way an expression of concepts, the concepts I am thinking about or bothered by or reading about when I am working on the art.

"The Successful Life" is a protestation against a particular bourgeois notion of "success" that far too many educators and educational institutions try to instill in their pupils: the destruction of all in the self but that which is productive for the purposes of expanding capital.The crucifixion upon the altar of wealth production.

"Mindscape No. One" was a product of a sense of isolation at the beginning of the Coronavirus quarantine, which even as I understood its necessity I found was taxing. There was a sense of coming untethered from one's moorings of socioemotional reality, of drifting in a void without significance or motive. I thought the combination of vague greys and stark blacks in ink painting captured this well enough.

"The Philosopher Upon The Rocks," perhaps the most personal piece in this set, is a meditation upon the nature of human contemplation and learning. The whole world is a mess of contradictions and conflicts, of little systems unraveling and reinventing themselves ad infinitum. The human eye and hand trace this unceasingly, and, when they do it with enough clarity, only then begin to know themselves and their place in it all.