The sculptures/paintings in this body of work are typified by three-dimensional compositions painted a uniform gray that appear to float in lightly tinted color fields. Many of the individual components are recognizable as scraps of toys or the wiry, plastic structures typically used to contain the parts of pre-assembled model kits, such as planes or cars. Since the sculptures are wall-based and affixed to a two-dimensional surface, the viewer approaches them like a painting and the compositions thus suggest an aerial perspective. This bird’s-eye view implies a reading of the works as abstracted landscapes and perhaps, more ominously, as sites of crashes, floods or warfare. Each of the sculptures is constructed with a strong sense of predetermined arrangement, but is also positively reactive to the fluidity and plasticity of the materials. Conceptually, these painting-cum-sculptures examine art-historical precedents and consumer culture, as well as notions of structure, identity, and memory.