Like floating sculptures that have been flattened into a painted environment and confined within corporeal boundaries, my work searches for meaning within psychic structures and spatial metaphors. Like word associations, objects and materials feed into a thematic aesthetic based on chance and formal choices. Reinterpretations of found objects and fragments are painted through a layering of shallow picture planes; imagery I liken to flowers pressed in a book, or grass flattened by a rock –
My painting practice is reliant on process-based explorations that systematically acquire and create an inventory of desirable materials to work from. I find formal and historical relationships in materials and painted marks that acknowledge surface, texture, line, pattern, gesture, and form. I work between building installations and extending the limits of materiality, that fuel bodies of work, focusing on the repetition that evolves. This can be seen in the movement and rhythm apparent in line, which leads the viewer through the composition as well as the intentional use of vibrating colour schemes that cause a tension in planar depth. The acquired materials ultimately become a silent inventory of objects, like little bodies, that over time populate the studio space and inform relationships in the work. A symbiosis occurs and can be seen in the fragmented representation of source materials as references.
I use dynamic composition and shift scales at all levels of my creative process. I am intrigued by objects that I acquire from thrifting and drive-bys. I request paints for donation through listservs and scavenge for curbside treasures. The analog action of collecting also involves chance that carries an energy of ambiguity into the work, which I liken to the larger context of our ever-changing environments. I work on many projects at once and integrate the language from sculptural work, paintings and drawings, and projected works in progress, in the studio into my paintings. As a result each work manifests familiar imagery that continuously expands upon form and style.
In this way my work is directly related to landscape painting. My aim is to replicate the presence or absence of body/object in each subsequent work, based off physical observation, reworking of the visual content into drawings and sculpture, and visually recalling through memory. This is typically how my work begins. Instead of picking ideas, images, and emotions from people I pick ideas from objects based on their agency while considering the influence of place, emphasizing location specific vernacular.