My paintings are constructed slowly and reveal themselves slowly. By building up layers of simple flat shapes and patterns I create apertures that shape the light in each painting. The result is in an abstracted, disembodied light world that is always on the verge of tipping from the physical to the metaphysical.
The surfaces of my paintings conspire to disclose familiar forms and spaces, and then just as quickly displace you with the blunt literalness of the paint application, hinting at a narrative just out of reach. They suspend you out of place and force you to adapt to a slower way of seeing. I want to use marks the way a Zen monk uses a paradox to awaken the mind, and at the same time the way a punk rocker uses an aggressive stance to push back at the world. I believe the process of seeing is one of constantly searching and constantly forgetting ourselves. My deliberate refusal to will the work into a comfortable, conventional form reflects the target I am always shooting for in the work: the constant embrace of impermanence, openness, and play in the world.
The surfaces of my paintings conspire to disclose familiar forms and spaces, and then just as quickly displace you with the blunt literalness of the paint application, hinting at a narrative just out of reach. They suspend you out of place and force you to adapt to a slower way of seeing. I want to use marks the way a Zen monk uses a paradox to awaken the mind, and at the same time the way a punk rocker uses an aggressive stance to push back at the world. I believe the process of seeing is one of constantly searching and constantly forgetting ourselves. My deliberate refusal to will the work into a comfortable, conventional form reflects the target I am always shooting for in the work: the constant embrace of impermanence, openness, and play in the world.
