Ten years ago, torn tablecloths and kid’s menus sprinkled my family’s refrigerator. It never mattered if our restaurant table lacked a cup of Crayola crayons– my mom always tucked a ballpoint pen and colored pencils into her purse. I sketched a face wherever we ate, oftentimes a near-replica of the one I’d penciled in my notebook earlier that day. My work today, then, seems an exercise in regression: after a ten-year hiatus, I’ve returned to my first medium and matter, still preoccupied by the same details and distortions that caught my eye as a kid. My intentions, though, are no longer grounded in reality,likeness, or capturing personality. Instead, I am moving towards an appreciation for imbalances,exaggerations, and oddities– for the simple notion that “something just seems off.” Namely, in The Butterfly Effect I & II, Amalgamation, and Studies of Gray Foy I & II, I play with incongruous light sources, the convergence of the natural and the contrived, and exploiting the boundary between real and imagined. I hope that, in doing so, I may probe other themes that fascinate me: masks, intersections between sculptural and flat forms, and visual disturbances–discrepancies in light, color, or shape