My process starts by appropriating images from newspapers, magazines and the internet. I recombine the images digitally, print them out on photo paper and then photo-transfer them onto Mylar. During this process the images are altered, repeating or erasing parts, interrupting the picture plane or obliterating the image entirely, changing their context. I am inspired by situationist ideas and the inherent unreality of our image saturated culture. I am searching for images that are those that are both familiar and alien to my experience being drawn to images of labor, production or deterioration. Decadent interiors, wood paneling from trailer homes and wide-open, desolate landscapes become portents and signifiers for a cultural cognitive dissonance. Making both inviting and unnerving vignettes I want to call to mind the artifice of the narratives we consume daily. What emerges is an American counter-narrative that speaks about class identity, loss, and historical memory.