You can’t draw a square by actually drawing a square. You draw a square by using straight lines to distinguish a particular area of space from the rest of space. The space defined by the lines represent a square. Lines define space, both artificial and real – squares, walls, floors, borders, horizons, etc. I like lines because I like to have control of my life.

Maybe that’s why I draw so many buildings. Architecture itself is a form of control - buildings define space and control interactions between people (at least geographically). I don’t particularly care about the specifics of the buildings – where is it, why was it made, who works in, or even what it looks like. Rather, I’m drawn to the nature of the lines used to create buildings. There can’t be any ambiguity with these lines, floors must be floors, walls must divide space. I use these same sorts of lines to draw and it’s the process of making those marks that interests me. I’m drawn to architecture because of the ‘control’ that’s necessarily involved in building the structures. And because of the control necessary to draw them.

Freud describes the uncanny as the “transformation of something that once seemed homely into something decidedly not so.” The architectural uncanny occurs when our experience within a space doesn’t match our expectations. When the reality of ‘home’ can’t survive our idealized picture of domesticity and nostalgia, we feel betrayed by our own expectations. In my paintings and video pieces, I depict the uncanny by contrasting the structure and order of architecture with the randomness and instability of emotion and memory.