As we move further into an industrialized era the fossils of plants and mills and train stations become integrated with our environment. By making art I can attempt a psychological coming-to-terms with the wasteful actions of our society, as well as the self-detrimental deconstruction (through industrialization) of the environment we exist
Foremost, my work is heavily involved in process and formal experimentation.
The use of scale, abnormal materials, and a nuanced palette all play important roles in its production. Larger pieces allow me to translate gestural, intuitive actions into something optically intriguing. I employ flat compositional elements abutting highly textured sections to create complicated and rich fields. These fields are executed through immense amounts of layering and time. Value choices offset with geometrical interjections work to simultaneously confuse and enhance pictorial space. Ultimately, however, my overt interest in the rich and nuanced optical integrity of deteriorating objects is vital to my work. The ambiguity of their history and honest reflection of their decay makes them enigmatic to me. I wish to pursue a translation of this transient nature of our world to create work that is truly compelling.
Hinging upon experimentation of material usage and implementation of successful experiments, my body of work is in a formal flux. I know only the tools and materials to use when I create. Deliberation and contemplation come in to play towards the later portions of a work’s fruition to make compositionally sound art. In the end, traversing the unknown and infinite possibilities beginning from a single moment recorded upon a surface simultaneously enthralls and frightens me.