These mixed media collisions verge on haphazard material explosions but are in fact self-contained eddies of content and form, culled from a diverse material drift, brimming with ideas and empathy. Odd, vulgar, trashy, they protrude from the wall unevenly to reveal moments of visual intrigue, material innovation, craft and poetry. My obsessive iterative-ness opens the studio to a physical state of entropy (material breakdown and drift) that I employ in my efforts to compose finished works. I source materials freely trusting my eyes and impulse. My material choices are not random, nor reasoned, but call forth an animistic orientation with respect to identity, time and locality (i.e. relational ontology). Commercial packaging plays a key role in my work. It is a ubiquitous, flat/foldable source with readymade optic range that rivals the palettes of Monet to Massacio. I appropriate (discover) text fragments, fonts, graphics, corporate and cultural signage as future artifact embedded in the work. I call this process hyper-collage.