My work oscillates between painting, collage, and video installation to break down conventions of pictorial space, color and light. Chroma plays a crucial role in collapsing images and layers to destabilize perception. Currently, I’m working on a series of paintings based on holograms. This translation of color embedded in a reflective surface and light (additive) into the static hues of pigment (subtractive) is and engagement in perennial issues of painting. In newer video work I investigate these failures through the rhetoric of light, drawing on hologram color palettes, in particular, to investigate spaces where reflection and transparency happen at once. I construct images to occupy a curious suspension of time where deliberate slowness of time-based media and the instantaneousness of a mark are fused. Through the mechanics of collage, then, I specifically abstract pictorial space (and thus ask the viewer to look more closely and slowly) in a process that is ultimately rooted in the ambiguity of images coming into being rather than having arrived.
Ultimately, the picture plane is an index of a thoughtful and deliberate process that is nonetheless structured to derail somewhere between point A and B. These derailments and erasures are generative failures incorporated to become traces and veils giving the sensation of space billowing forward and receding. As I intervene on the connections between painting and digital processes, I layer the transmission of light to create stutters within the image. Doing so forges tension in/and duality to assert materiality while delaying legibility in ways that heighten the visceral impact for the viewer. The way I approach image making does not beg the question why forms begin and exist, but how they will play out.