I paint because it enables me to form my ideas and thoughts into something physical. When I view the world around me I am constantly breaking it down into lines, connections, measurements, weight, and influence - as if I am editing a rough draft with highlighters and pens. I enjoy deconstructing life and looking at it through slow motion while asking myself why did this happen or how did that happen? If I could map and graph organic, uncontrollable material, such as animals or humans, then maybe I can make more sense of it all. I cannot control much of life, but when I paint it, I can control a small slice of it.
Previously I have focused much of my work on a single animal or figure and have broken it down within the moment it has been captured. In my more recent work, I have grown more concerned with how the paint is applied to the paper and its visual stimulation as opposed to the conceptual depth. All of my pieces challenge the viewer to question his perspective of the subject matter. All of the work is geared toward vulnerability, dark undertones, or subtle humor.
While I have not fully embraced the modernist mentality of painting for painting sake, the production process has become important to me. Everything within the work is chosen for a reason: titles, words, symbols, patterns, historical references, colors – I want the viewer to deconstruct the work and consider why the paintings look the way they do. I want to map out the big picture as a means to grasp it better – make it seem less overwhelming. As it relates to fear or emotional, mental struggles; if I can freeze it and analyze it void of the emotion weight, might I be able to overcome it?
Evolving this body of work both excites and motivates me. I look forward to seeing where further exploration can lead in my pursuit of putting thoughts and ideas into physical form.
updated June 2019