The centerpiece of this show is From Here On Out (2025): a large, ramshackle, free-standing, scrap-wood armature supporting two plexiglass panels, embedded with four small assemblage-paintings, themselves containing collaged, miscellaneous photographic imagery including a bird and tree, for instance. I could go on listing the variety of elements but that would hardly convey the multitude of their interactions. Fragmented, layered imagery/material is recursively layered on yet more fragmentation, transparency, and non-sequitur juxtapositions. As with the assemblage paintings here, it contains a surfeit of inventive moves. Looking at these requires, not just shifts of attention, from one area to another, but, veritably, in ways of seeing. The material language evokes a kind of punk rock, post-pop, assemblage style but it’s taken to a stranger place: one in which hints of nostalgia, sentimentality, and seriousness—even an ethereal quality—are mingled with irony, angst, and abjection. This work isn’t just more than the sum of its parts, it’s the sum of its collisions: the energy fulminated in the interstices between one thing and another.