I replicate objects from my childhood in plaster. Rendering the forms more universal rather than individual icons. These objects become marquettes for paintings: inserting them into landscapes both real and imagined.
In paintings incorporating the cast or sculpted elements into contemporary American landscapes, they too seem like ruins or monoliths, and become archeological evidence of a society with questionable substance to leave behind. Many works though devoid of human forms, show evidence of their passing: seemingly inhabited ruins depict post-apocalyptic scenes where the individual in residence is patching together a life and making the most with what is left.