My work is currently driven by an ongoing fascination with the aerial perspective. Viewing the landscape from directly above with no strong foreground and background allows all visible objects to be relatively equal. From this perspective we are allowed to view life with a sense of omnipresence: seeing places vast distances apart at once, each with equal emphasis. Our paths on the two-dimensional landscape create lines leading from one important hub to another, similar to an ant farm. Other lines become theoretical boundaries that go unseen in any setting other than a political map.
Boundaries are linked by a multitude of systematic rules and regulations that shape the way we live our lives. These lines can be seen in things as large as countries or states, or on a much smaller scale—such as a ping-pong table. The lines sit on a 2-dimensional surface but create an invisible 3-dimensional barrier to differentiate our 3-dimensional space. These abstract, sometimes arbitrary, imaginary lines can have an incredible impact on what happens on each side of those barriers.
 
My work is a product of my questioning and examining the way we separate and regulate space on these different scales. How also do artworks sit in a separated and regulated space? Just as a map is a model of reality, my artworks act as models—models of reality, or at least what may be accepted or not accepted as reality.