I am a painter that subverts everyday objects. I take from them their surface appearance rather than their form and use these for my compositions. The paintings are equal parts representational of the patterns that fashion my surroundings as well as abstractions that have complex painterly applications and optical interplay. By doing this I suggest to my audience to slow down and appreciate their overlooked surroundings since they have more beauty than we realize as well as providing a quality painterly experience. I want to further develop this representational plurality by using fabric to emphasize the painting as a sculptural object, so that my audience can have a more complex experience of the materiality. Just as attention got me into trouble by being overlooked in elementary school and then from being over-emphasized in high school; through my work, I would like to reframe attention to undo hierarchies and the inadequate consequences that these create. I would like for my audience to have a richer experience, beyond seeing my work, by reframing their awareness and using their attention in a more balanced way. At the same time, I suggest that this is also symbolic of a social phenomenon, where regular people are similar to those ordinary objects who need proper non-hierarchical attention and can provide beauty. The following Buddhist sutra: “Fullness is not unlike nothingness, nothingness is not unlike fullness, fullness is emptiness and emptiness is full” captures this. Agnes Martin, who was also inspired by Buddhism, impacted me because she uses subtle complexities to achieve profound paintings.