My work is first and foremost governed by a requisition to experiment with method, material, and pictorial elements coalescing into an experience that approximates the discipline of painting. With this, a unique vocabulary and an identity of methodology, aesthetics, motifs, and formal relationships materialize. The logical structures of 2-dimensional landscape and portraiture resonate with me, and I react in accordance with, and against the instinctive impulse to arrange according to traditional representational models.
Challenged by resistance, the outcomes are rendered active through action, expressing moments of extreme amplitudes inducing composite meanings. Defying expectations of formalism, of logic and order, the familiar is interrupted. It is here, in a state of perpetual conflict, possibility is inverted and compounded; sheared, broken-down and without resignation, surface and meaning are transformed.
Combating the tyranny of meaning, I deny the accident of action as Pollock once did, embracing the unfamiliar; sifting through the latent potential of an interdisciplinary practice, I explore the circumstances, nature, and symbolism of material and language. Through performance and an emphasis on action, I produce meaning over a series of conventional and discursive mediums and disciplines, utilizing the visual image in all its peculiarities.
It is through these peculiarities and aberrant means, that a moment within the expansive history of painting and image production is captured. Positioning myself with this vantage point as a kind-of sounding device, I express and engage a very particular yet incorporate understanding of the visual form. Imbibed by the history, language, and practice of painting, I am compelled to explore where painting has been, has not gone, and still may explore...