Years of living in Florence, Italy and being a life-long student of art and history have had a profound impact on my artwork. Looking beyond the standard masterpieces of Italian art, I’ve been more interested in virtually forgotten imagery found off the beaten path. I became fascinated by ancient and medieval mosaic and inlaid stone floors. This incidental imagery became the backdrop of my everyday life, and by conducting my own kind of low-impact visual archaeology, I discovered compelling works of art that weren’t exactly lost, but simply overlooked. These flat planar surfaces act as both “stage” for human activities, and as metaphor for that which is trod upon, disregarded, or at worst, desecrated.

These decorative floors often recount centuries-old tales or offer didactic lessons through their own visual language of figural designs, patterns, and inscriptions. Such images serve as a catalyst for my own mental associations, memories, and personal narratives. In my work, the imagery from ancient floors is juxtaposed with objects and debris from private, contemporary life – the detritus of enigmatic events transpired or the residue of everyday life lived. This combination of forms old and new, public and private, and sacred and profane establishes new and unexpected relationships and dialogues. At times these combinations become allegories that, through familiar symbols and personal iconography, address themes both autobiographical and universal.

One recurring theme has to do with the prevalence of war. Many pieces explore the dichotomy between the pleasures and preoccupations of everyday life set against the backdrop of troubling world events. Such works are my attempt to grapple with an appreciation of the past while struggling with the gnawing realities of the present day. In the rehabilitation and reanimation of “lost” imagery, I’m able to find context in the past, while reflecting on my own perceptions of the present.