My recent work has revolved heavily around the concepts of accessibility and readability, insofar as they relate to audience perception. I have taken advantage of a sort of coded visual language that obfuscates the otherwise recognizable and relatable forms that are present in my paintings. In constructing and implementing this coded language, the idea of “coldness” began to permeate throughout my work, creating an air of uninviting sterility that is in conversation with (or even battling against) the otherwise deeply personal nature of many of my paintings – whether that personality comes about in the subject matter, intensive research, or the crafting of laborious surfaces. The coldness is intensified by my use of digital imagery and compositing, mechanical brushwork, and muted palettes. Referencing digital mediums such as photography has been crucial to the development of my practice, as I consider how we consciously and unconsciously assign meaning to photographs. However, the cold and sterile exterior of my work begins to fade the more the imagery is considered, presenting the idea that my coded visual language hides a much deeper emotional state than is presented at first glance.