I am interested in the intersection between specificity and approximation, particularly how this relationship informs our perception of the world around us and the role memory plays in that interface. The methods I utilize in the studio are the source of these inquiries, as techniques often rely upon activities of transference and obfuscation, resulting in imagery that is compromised or incomplete, blending situational intentionality with generic cross-pollination. Repetition and the reoccurrence of patterns and thematic elements within a given composition and from piece to piece reference the sensory shorthand I believe we employ to navigate our surroundings and render our experiences onto memoir.
Approaches in the studio revolve around “off-canvas” processes: Glass-plate paint transfer, crude mono-print techniques, and the creation of myriad types of painted paper that are manipulated and cut to form prior to application to the surface of the piece. As referenced above, these processes are a conduit to investigations into perception and memory, implicitly informing the conceptual thrust of the work rather than being the product of the reverse. I’ve always said that when I enter the studio, I do not so much begin with an idea as endeavor to arrive at one, and allowing the process to lead my inquiries, as opposed to those inquiries driving my process is integral to keeping the work honest, revelatory and moving forward.