I seek greater transparency in my actions and work- I want everyone to see me from the inside out. I want to sign your name in my blood. I want to help.
Investment into fiction is a catalyst for my image making practice. I play the role of the counterfeiter, and worshiper simultaneously. I consider both the perpetuation of throw away images, and belief in its most broad terms. I simulate evidence and artificial surface not from the perspective of gaining awareness or finding inherent truths, but to simply indulge in the unattainable nature of fiction. My work is not an exercise of persuasion but an act of devotion and atonement.
I make paintings as a way to explore objects and imagery from my personal life and how they relate to myself, each other and the viewer. My practice involves thrifting, painting, collecting, arranging, touching and exploring.
Paradigms and context of visual aesthetics as conceptual material in creating future forms.
My practice over the last five years has been to interact with a variety of materials in a manner that speaks both to their common usage and chemical makeup. I see parallels between the intermixing of commercial products and the interaction of elements in the natural world. Where water meets land or a metropolis meets desert, the dynamic physical intersections of our planet draw social and material divides. My work is an attempt to understand the beautiful tension in the powerful, and yet incidental, aesthetics of our landscape. Many of the materials I use today—including aluminum (the most common element on the Earth’s surface), petroleum (the base product of asphalt and polystyrene), tar, acetone and mortar—occur naturally but are distributed commercially. Culled from the earth and reinterpreted as earth-forms, the resulting pieces catalyze the link between the human and elemental impact on the landscape.
I have recently been researching the dichotomy of the term “island fever,” with specific interest in how the tendencies toward escapism that have developed on and around these micro-economies (islands) relate to the much larger tendencies of escapism that exist in space exploration and transcendence through technological means and development. Ultimately, my interest is in the cultural production of alternative spaces and alternative definitions of “space,” as traditionally accepted ideas and actualities of physical space (and access to it) have been quickly diminishing.
I believe the arts have the capacity to embed itself within a broader social realm as current social conditions render a new kind of creative practice: research. My relationship with the arts which I have often treated with reflection and exploration, is one that I envision with further potential to be an intersecting vehicle between the informal and the contemporary. Let us contemplate and take a stance at what surrounds us.