This series of paintings express the frustration with mankind’s attempts to live in a machine environment. The overlapping of stylized packaged industrial forms toned with muscular colors of arterial richness lead the viewer into an introspection concerning the true nature of the human species. The English poet William Wordsworth caught a glimpse of this eerie reality we now experience when he said, “We murder to dissect.” 

Science and industry ruthlessly pursue a more efficient and convenient method of existence by reducing forms to analysis, and institutionalizing them into a marketplace to realize value if it has “practical applications”. This series seeks to question, can life really only be the sum of its parts? At first glance, the flesh is seen as automated, looking very much like production line machinery. However, with more thought, one realizes that this impression rests all too easily in the eyes, and the simplicity encourages the viewer to reexamine their ready acceptance. This ability to view the dynamics of life as a machine, limits not only the complete understanding of its majesty, but can also be a dangerous philosophy as well. When viewing these paintings we must again ask ourselves, if I accept life as merely an automated biology, do I renounce my own ability toward attaining higher consciousness? Is the higher consciousness only a biology within itself? Am I, in all that I am, only a machine? If so, what are my societal roles, and why do we as people feel a sense of discontentment?

The answers to these questions are difficult.  They force us to speculate within the realms of these paintings, how far we as life forms have turned from our natural and organic path, to follow the idolatry of our own mechanized sciences.