My still life paintings speak of domestication and drama, structure and ragged nature. In them, I bring together sculptural forms: natural fragments and industrial scraps which I use in a manner that are akin to the clay-figure “modelli” employed by Renaissance artists. I prefer domestic things like vessels, foodstuffs, and flora that reflect ancient archetypes. I comingle these with industrial fragments that embody controlled technical transformations such as carving, molding, firing, weaving, or tanning. To construct my set ups, I bring things bought, borrowed or scavenged to my studio and let them sit for awhile without arranging them much on the table. Their shapes and their proximity to each other and to myself generate dramatic interactions. This uncertain situation comes to allegorize interpersonal relationships that open up as I observe through the muddy oily colors and brushwork of paint.