Decorativeness and ornament permeate his oil paintings. The surfeit of roots, branches, foliage and flowers looming over interior objects and neat brick walls is almost impossible to take in all at once. The subjects in the mid-century art collector chic of Ultramarine II (2004), the busy pattern and soft furnishings of Long Time Now (2002) and the backyard vertigo of flora and collapsed modernist housing of The Handsome Family (2004) and Heartbeat (2004-2005) share a slightly aggressive sense of wild, untamed beauty perhaps most disquieting in the overgrown brutalism of Silence (2001). Rich metallic tones imbue his motifs with an unreal, oneiric, displacing them from their usual context, as if referencing the look and connotation of religious illuminations.