The face and figure as subjects have always been a primary interest to me. My constructed non-portraits chart the boundary between appearance and reality. The backgrounds of some serve to highlight the lack of candidness and foster the suggestion of inaccuracies. In others the background and non-portrait become fused as the subject. The works encourage alternative interpretations, and although the subjects are ultimately unknowable—particularly in a two dimensional representation—the paintings attempt to survey their topography and fathom the underlying structure. Arising from premeditated images these stratified, appositions of color delineate the perceptual terrain and the inevitable realization of isolation. Tempered cynicism and skeptical awe imbrue my work, reading like maps of both exaltation and alienation. And like a map, a painting can reveal only certain characteristics or a limited amount of information. Its deviations from the truth reveal information beyond the source and are an integral part of the work. The variations allude to an existential struggle, to the discrepancies between perception and reality, and to the chasms between seeing, knowing, and understanding.