I first became interested in architecture after witnessing the events of 9/11 and the housing boom that followed. One thing I learned from the fall of the WTC is that buildings like people are born, live, and die. The housing boom that followed 9/11 became quite visible in my neighborhood. Overnight, blocks I was familiar with were razed and converted to condominiums, often incongruous with their surroundings. Initially angered by the change, I learned to appreciate the juxtaposition and discovered the inherent beauty in decay and development. The conflation of such opposite sensations introduced me to a type of anxiety and aspirational hope. In my work, I try to capture this by suggesting impermanence, precariousness but also renewal. This has often led me to portray buildings in verdant settings or mountainous landscapes. I want to press together slightly impossible variables, and introduce architecture, like a character, into that setting. Pattern is also very important in my work. I use graphic elements as architectural references but also as challengers to the architecture itself. In some cases I see bold areas of pattern as competitors for space in a realm otherwise dominated by nature or an edifice.