My working practice is rooted in individual, sensorial experiences and the way that those experiences are translated into a personal language of symbol, metaphor and analogy. In addition, a deep formal interest in color, materiality, texture, and surface often help dictate the immediate visual aspect of my art. My practice plays between formal considerations and a somewhat convoluted and shifting interior language of reference. I often feel that I am piecing together a puzzle without a predetermined image, that meets me where I am as the paintings are being made.
My work regularly makes reference to spatial structures. Fences, door frames, walls, windows, blinds, etc. I am interested in the distances and barriers we sequester ourselves behind. How the spaces we inhabit dictate our lives. How they alter our perception of our personal world and lives, and alter the perception of the rest of the world outside of that. I am also interested in the mundane and domestic. Gardening, cooking, cleaning. I think these references relate similarly to the interest in our personal constructed reality. Ultimately…we build the reality we each personally live in. My world is only known to me based on my senses, and the choices my consciousness makes. The minutiae and idiosyncrasies are what drive my interest.
On the formal end, composition and color are the most foundational considerations. My practice of abstraction derives from those two things first and foremost. My process builds nebulous, amorphous rules that I can follow, break, or change overtime. Ultimately, these rules all serve aesthetics. Further, an interest in the physical and literal nature of paint (vibrancy, opacity, absorbency, layering) as well as canvas- be it primed or unprimed, intrinsically inform the process of making my work.
My process pulls from my everyday sensorial experience, the inner emotional world, myth, and metaphor to suggest subject. My process is also fed by formal abstract and material considerations that follow in a long canon of abstract art and the canon of painting. These two axes coalesce into my artistic practice.
