Before I knew what I initially wanted to do with my life I knew it had to be something to do with utilizing my hands. I have always been drawn to manual practices. The idea of work is one that is very present in my life. It has become a concept that I ponder by thinking through the notion of routine that has become consistency for humans, an endless cycle of production and creativity. Work has to be juggled with all aspects of life. There is the struggle to maintain balance, which I like many others find difficult. I have used my artistic practice as an external expression of these ideas pertaining to work, its tensions, and as well other intriguing concepts which I contemplate. In art there is this floatation of ideas awash with form, line, and paint.
In order to keep each of my pieces unique I do not have a fully preconceived finished product, in mind when I begin. I rather immerse myself in the development through a multitude of processes. In an effort to further my development as a maker, I focus on the exploration of the relationship between process based abstractions as well as image making. So the act of making becomes just as important as the finished result. I utilize various techniques and methods to be able to create layered abstractions mixed with detailed, realized imagery. I find myself fascinated by different approaches involved with creating art. I engage in the process of surface building and deconstruction that speaks to an intuitive nature combined with highly premeditated detailed imagery. My approach is developed through combining transparent layers of paint, patterns, drawing, and prints. I strive to create surfaces to be reminiscent of erosion, showing passage through my process.
There is a quality of excavation, accomplished by a layering and removing that becomes a practice of pushing and pulling between imagery and surface. This allows for a physicality to my practice where I sand, scrape, wipe, pour , and mark all as action of application as well removal .Working in this fashion I combine interesting relationships between imagery and explore arrangements within the composition of a piece. This is all fluid in random sequence to explore construction, deconstruction of color, space and interaction. Imagery becomes buried becoming part of the overall process. In some portion of the pieces only a faint memory of an initiation will remain. Yet, this creates momentum, as selectively my imagery earns a place in the composition and remerges. Imagery is elevated to the top surface to allow it to retain graphic detail. I am in constant development around a vast lexicon of imagery, ready to borrow from and utilize in the development of my work.
The span of imagery extends from nonobjective to figurative, subtle to aggressive markings, funky illustration, rendered tones, and highly detailed prints. Content of the imagery will span themes of familiarity, storytelling, allegory, and invention of forms mystery, oddity, and domesticity, potency of object, previous thoughts, and inclinations. The imagery is applied to a substrate through methods of drawing and painting, directly on to the surface, screen-printing, as well as collage. In developing my works there is a continual effort to amend my concepts, striving to find an ever changing balance between simplification and complication of process and composition. I aim for deeper understanding of my artistic creations through deconstructing an image and surface. In efforts to continue to improve, I take risks by trying and renewing approaches to my practice. I strive to make unexpected dynamic moves. I must then react to making the end result based on simple or complex interplays of action reaction. My goal in the completion of my work is for the viewer to find intrigue, ambiguity, and to be able bring their own interpretations to my pieces.