My current work is a personal experience of the nature of Being explored through paint, sculpture, installation, and performance.
"Intention Seekers" is about channeling energy and attention to areas that allow us to gain a better understanding of ourselves and others. "Stained & Stitched" is about the remnants we shed through growth and the marks we leave behind. "Hesitant Obstructions" is about the ideological netting that keeps us bound, and the tug o'war that ensues when we simultaneously embrace and reject loyalties and traditions.
Each body of work is connected through process, and supports whatever has risen in my consciousness that I want to examine further. Sometimes the work is uncomfortable and painful, like the installation "Unfinished" about familial relationships and the anxiety of regret, and "Dangling Modifiers, Binding Lies" about the way racist tropes are marketed to children. Sometimes it is healing and playful like the sculptural iteration of "Intention Seekers" stacked to look like a cairn made of recycled materials, and the post-divorce wedding dress "Toe-Up" created out of toe tags from the morgue.
My process begins with a drawing from observation, little mundane moments of things I want to commit to memory. Maybe it is a really great meal I made for my family that kept me in the kitchen for two days, or the glowing embers of the fire pit that persists after my houseguests have gone home. While sitting vigil next to a family member in ICU, I picked up my sketchbook and drew the tubing and wire jungle that kept my beloved comfortable. I prefer to sketch on grid paper; I'm not sure why except I come from a family of accountants who put things in boxes, and the little squares do something to the way my brain organizes information. Then I make a painting from the little sketches. Then I want to see what my painting looks like as a sculpture. Then I take a viewfinder over my sculpture and make another little sketch. Then this little sketch turns into another painting. By the time I get to the last departure from the original sketch, the work is messy and loose. Each evolution is connected by the conjunction and, and I find them all to be true and necessary.
"Intention Seekers" is about channeling energy and attention to areas that allow us to gain a better understanding of ourselves and others. "Stained & Stitched" is about the remnants we shed through growth and the marks we leave behind. "Hesitant Obstructions" is about the ideological netting that keeps us bound, and the tug o'war that ensues when we simultaneously embrace and reject loyalties and traditions.
Each body of work is connected through process, and supports whatever has risen in my consciousness that I want to examine further. Sometimes the work is uncomfortable and painful, like the installation "Unfinished" about familial relationships and the anxiety of regret, and "Dangling Modifiers, Binding Lies" about the way racist tropes are marketed to children. Sometimes it is healing and playful like the sculptural iteration of "Intention Seekers" stacked to look like a cairn made of recycled materials, and the post-divorce wedding dress "Toe-Up" created out of toe tags from the morgue.
My process begins with a drawing from observation, little mundane moments of things I want to commit to memory. Maybe it is a really great meal I made for my family that kept me in the kitchen for two days, or the glowing embers of the fire pit that persists after my houseguests have gone home. While sitting vigil next to a family member in ICU, I picked up my sketchbook and drew the tubing and wire jungle that kept my beloved comfortable. I prefer to sketch on grid paper; I'm not sure why except I come from a family of accountants who put things in boxes, and the little squares do something to the way my brain organizes information. Then I make a painting from the little sketches. Then I want to see what my painting looks like as a sculpture. Then I take a viewfinder over my sculpture and make another little sketch. Then this little sketch turns into another painting. By the time I get to the last departure from the original sketch, the work is messy and loose. Each evolution is connected by the conjunction and, and I find them all to be true and necessary.