a space a shape a cloud a box
My formal strategies often align with painting. I make objects and installations with found materials, and I utilize the methods and tools of drawing and painting. I give myself extreme creative permission, and I grant that to my audience as well. Through my work, I frame an opportunity of reflection to the viewer about themselves, inviting them to evocation upon their own multi-layered history and memories. Can a viewer imagine, perhaps as a child would, meaning behind a conglomeration of substances? At what point does coalescing an opinion or an idea about an object, or a set of objects, become information? Using found materials is an immediate access point for that and a way to re-write an inclusive historicity of matter. I also consider labor, construction, structure, and tactility as their own paths to comprehension.
Mark-making becomes an ambient form of communication, as a breath or a suggestion, through atmospheric bouquets of chroma - metaphors for fixed cultural meaning. Form, space, material, color, and biography create an organic synthesis of complex relations. An installation becomes an empirical occurrence in immersive subjectivity; the act of painting is the catalyst of unfurling multiple dimensions on a single surface.