I create personal narratives. I approach my work almost as a diary, admitting to my failures and revealing personal events in my life which function as both tragic and humorous. Even though my work has nostalgic undertones with a sentimental yearning of the past, I am in a transition in which I am starting to acknowledge the now. I am currently exploring personal states and ideas of self-representation, but this has all branched off a reflection of my own past. I work in all mediums to help explain myself, and as a means for exploration. My paintings reflect my installations, which reflect my drawings. They all function together with a yearning of the past, and a personal view of my own life now.
The artist’s hand plays a significant role in my drawings and paintings which is displayed through the imperfections, the wonkiness, and the flat map-like style of paint handling. In my process I use collage to create unconventional spaces. My process is based on a reaction of marks. This cause and effect way of working lends itself to surprise. The unexpected juxtapositions of objects and non sequitur motives are humorous and confusing.
In my recent paintings and sculptures I have been creating a series of situations that deal with heart-ache and lost of love. In An Intangible Roseshade it depicts a 12’ ladder, with an aquarium filled with kitsch objects such as fake roses, and a still life of a painting (Titled: Tears). The still life is the word “Tears” on a white sheet of paper, taped on to a black wall with blue painters tape. This piece is driven from heartache and the lack of love in ones life. The realization on how hard love is. How a “roseshade” is a color that we all know but does not exist on our wikipedia; just as love is such a hard concept to define and does not exist in my own life.
I am also trying to understand and experiment how paintings function in non-traditional ways; how a painting can be viewed in an installation or a sculpture, or how a painting can be viewed leaning against the wall or on the floor. In I Just Want to Chill in 2010, I am trying to understand the basic purpose and function of still lives in painting. In I Just Want to Chill in 2010 it depicts a half painted still life of my Corona sweatshirt on a mat, and a digital print of fish above it. I am treating the painted still life as an actual object, as if there were an actual Corona sweatshirt lying on a mat. I am trying to create an environment for my painting to live and breathe in by going outside of the canvas. This piece comes from the root of my own struggle with painting, and towards my own future in 2010.
The artist’s hand plays a significant role in my drawings and paintings which is displayed through the imperfections, the wonkiness, and the flat map-like style of paint handling. In my process I use collage to create unconventional spaces. My process is based on a reaction of marks. This cause and effect way of working lends itself to surprise. The unexpected juxtapositions of objects and non sequitur motives are humorous and confusing.
In my recent paintings and sculptures I have been creating a series of situations that deal with heart-ache and lost of love. In An Intangible Roseshade it depicts a 12’ ladder, with an aquarium filled with kitsch objects such as fake roses, and a still life of a painting (Titled: Tears). The still life is the word “Tears” on a white sheet of paper, taped on to a black wall with blue painters tape. This piece is driven from heartache and the lack of love in ones life. The realization on how hard love is. How a “roseshade” is a color that we all know but does not exist on our wikipedia; just as love is such a hard concept to define and does not exist in my own life.
I am also trying to understand and experiment how paintings function in non-traditional ways; how a painting can be viewed in an installation or a sculpture, or how a painting can be viewed leaning against the wall or on the floor. In I Just Want to Chill in 2010, I am trying to understand the basic purpose and function of still lives in painting. In I Just Want to Chill in 2010 it depicts a half painted still life of my Corona sweatshirt on a mat, and a digital print of fish above it. I am treating the painted still life as an actual object, as if there were an actual Corona sweatshirt lying on a mat. I am trying to create an environment for my painting to live and breathe in by going outside of the canvas. This piece comes from the root of my own struggle with painting, and towards my own future in 2010.
