The ubiquity of decorative patterns makes them useful subject matter to explore not only the formal aspects of painting, but also time and place in terms of content. One of the best places to find the source material I appropriate, decorative patterns and playful color palettes, is in apparel and domestic objects. Keeping a mostly strict diet of fashion and interior design magazines, I mine once a month through the aspirational visual imagery put forth by established tastemakers. With an eye towards the pleasurable, I then wean this imagery down and visually collage sources together to make paintings focused on color relationships, formalism, and my personal battle concerning issues of taste. By mixing my own paint I have been able to tailor-make a complicated and often irksome visual-to-tactile experience for the viewer. By using a heavy hand with both silica flat, a paint binder, and pigment dispersions, the base for the chromatics of paint, my paintings are able to look pleasurable and enticing from a distance, but flat and dry up close. I use this collapsing of tactile expectation as a guide to redirect the viewer back in to the content of imagery, thus not allowing them to get lost in the pleasure of paint and decoration.