My painting practice is anchored in photography. Paintings typically begin with an image chosen from among the thousands of anonymous, amateur photographs I have combed from the internet. At that point, I deploy various strategies of disruption, some intuitive and painterly, others technological, to create paintings that retain passages of realism but also disintegrate and mutate in unsettling ways. I want them to oscillate between blunt reality and a deep, slippery space full of unfamiliar objects and strange energy.