This recent body of work investigates apophenia (the tendency to perceive meaningful patterns within random data), as a coping mechanism to distil the torrents of information the contemporary subject encounters on a daily basis. Depictions of found patterns interrupt the gestural surface as symbols of this human rationale, and sit within abstractions of landscape as well as references to various painters of influence, in particular Caspar David Friedrich. Friedrich's notions of the sublime are summoned as a counterpoint to the various decorative motifs, where order and pattern-cognition are eschewed and the infinitude of the natural world is all-consuming.