My practice is driven by a belief in the potential of painting to connect people, through shared sensory experiences and the temporary disruption of social and material boundaries. By using and misusing the fundamental elements of color, form, and surface, I choreograph experiences that collapse the distance between viewer and artwork, suggesting a way of seeing and being in the world that privileges sensation over interpretation, akin to the way one might experience music or poetry. I consider the painterly surface—porous and absorptive—to be something like an organ, alive to our moment and capable of responding to its environment.
I invite viewers to encounter painting through multiple entry points, interweaving elements of performance, installation, sculpture, and architecture, but the painted gesture is the foundational element of my work; it is how I locate the parameters of my own body in the world. I transpose these gestures across varying registers, from small score/demo-like works on paper and linen, to traditionally sized canvases painted with tools I make, to immersive, scaled paintings made directly on the walls of exhibition spaces, sometimes paired with painted and dyed fabrics that function like nets to capture and manipulate light. I’m interested in how these oscillations in scale and orientation implicate the viewer in different ways, my bodily gestures becoming a mediator between space, light, and optical and somatic experience. I use my palette to facilitate a similarly relational experience of color, revealing the perceptual instability of colors and their contingency on light, time, distance, and perspective.
Through my work, I aim to reimagine two-dimensional painting as a dynamic social space to be experienced with the body. The urgent sociopolitical issues of our time underpin my concerns as an artist: to make work that offers space for contemplation, togetherness, and joy, while also challenging viewers to consider their own embodied subjectivities.