I work primarily in sculptural landscapes comprised of found vintage imagery, meticulously constructed into digital composites, that are digitally printed, then intricately cut out by hand and reassembled into physical layers inside shadowboxes.  The final works create a confluence between two-dimensional and three-dimensional art forms, drawing from a long standing interest in the intersection of conventional printmaking, digital art and book arts.

The iconic, typically mid-century figures in the collages reference white middle class stereotypes and the alienation often found in the unrealized American dream.  The figures are displaced with a shared, unmet longing and curiosity reflected in their presence inside the idyllic settings that have been compromised in some way.

The figures and other images in my work are sourced from ladies magazines, educational textbooks, how-to guides and other popular materials from the 1940’s-1960’s, relics that represent to me an abstracted promise of modern life.  Inspired, in part, by Walker Percy’s Love In the Ruins, the reconstructed scenes in my work are of a disoriented human experience, visual moments that exist in an unsettling, illusory middle ground between future and past, promise and loss, meaning and emptiness.

- A.S., 2016 

"He registered a dizzy 7.6 mmv over Brodmann 32, the area of abstractive activity.  Since that time I have learned that a reading over 6 generally means that a person has so abstracted himself from himself and from the world around him, seeing things as theories and himself as a shadow, that he cannot, so to speak, reenter the lovely ordinary world.  Such a person, and there are millions, is destined to haunt the human condition like the Flying Dutchman."  

- Walker Percy, Love in the Ruins.