Process is central to my work. My paintings are created by injecting acrylic paint into the cells of

bubble wrap using a syringe. Each cell becomes a discrete unit of color, and images are built

through thousands of individual injections across the surface. The work combines a slow, highly

manual process juxtaposed with a mass-produced material normally used for packaging and

protection. Through this system, the work explores how images change as they move through

different material states and moments in time, shifting between construction, transfer, and

transformation and reflecting the unstable way images are held and reconstructed through

memory.

Bubble wrap is a material embedded with cultural associations, from protection and packaging to

the broader plastic material culture of contemporary life. Bubble wrap carries an inherent

contradiction. It appears fragile and temporary, yet the plastic itself can persist for centuries,

reflecting tensions between protection, permanence, and the disposable material culture of

contemporary life. Once injected with paint and allowed to dry, the cells lose the ability to be

popped, transforming the surface into a stable structure.

The process creates two related paintings: the Injection and the Impression. The Injection

painting is created as paint fills the plastic cells through thousands of injections. The bubbles are

intentionally hyperinflated so that paint leaks back out through the injection point and drips

behind the plastic surface, progressively accumulating into a thick sheet of paint on the back of

the work. After the Injection is complete, the congealed sheet of paint is peeled away from the

bubble wrap to reveal a second painting that I call the Impression. The Impression image

physically exists between the plastic surface and the accumulated paint and is revealed only at

the moment of separation, producing a second image that functions as both a record and a

transformation of the original Injection.

When viewed from a distance, the Injection paintings resolve into a coherent image through

optical color mixing in the viewer’s eye. Up close, the individual cells remain visible, revealing

the textured and sculptural structure of the surface. The Injection works operate as a form of neo-

pointillism, creating images through repeated acts of physical mark-making that also echo the

pixel-based logic of digital images.

This process developed while I was confronting the possibility of beginning injectable treatments

for my multiple sclerosis.

As my multiple sclerosis progressed and I began relying on a mobility scooter, I recognized it as

a potential tool rather than a limitation. At that point I began a body of work in which the

injected paintings, while still wet, are placed on the floor and covered with canvas before being

driven over with my mobility scooter. The pressure from the wheels of the mobility scooter

transfers paint onto the canvas while collapsing the bubble surface beneath it. The compressed

bubble surface of the Injection left behind becomes what I describe as an artifact.

Across these bodies of work, images move through multiple material states, constructed through

injection, revealed through separation, and transformed through physical compression.