I approach paintings as windows, simultaneously fragmented and complete in their composition. I flatten the aerial image in order to distort the perceptions of depth and distance. I then form order using mapping and diagrammatical systems. These systems are tested through landscape and architecture. I choose places that are familiar to me, yet banal. Precise, yet anonymous. Psychology comes into play, as humanity is removed from these spaces. The framed image becomes a solitary lens that faces only remnants of life, alone with the evidence that someone was once there. The commonplace turns into a pattern, its recurrence paralleling nature.