Artist Statement 

Microcosm 2017 & Place 2014-present

I am interested in particularity. Through details, my work records a singular moment. I look for unexpected compositions within nature through motion, refraction, alternative points of view, or microscopic scale. The paintings are photo-realistic in that they rely upon a photograph to suspend time for prolonged examination. Magnifying to abstraction, I find the dual tasks of visually deconstructing and physically reconstructing an image in paint to be immensely satisfying. The result is a stylized version of reality that is pieced together from interlocking fragments of shape and color.

Drive 2008-2013

Drive is an exploration of transitional space.  I am interested in perception and the ways in which we process sensory stimuli.  The paintings portray recognizable symbols juxtaposed with the natural landscape in an environment warped by motion.  Strange yet familiar, the imagery is intended to evoke the sense of a place that is in between.  I find the act of driving to be symbolic. Other than the obvious metaphor for life as a journey, driving represents the self in auto-pilot awakened by pauses in which we see something beautiful in the mundane.

Paint seems an apt medium to capture the fluidity of light and the magnetic, man-made colors that punctuate the landscape.  I am also interested in the contradiction of using a painting (a fixed, monumental tribute that withstands time) to describe an event that is barely visible in real time.   The process of painting lends longevity to the happenstance.

Chance has always played a role in my art, and the spontaneity of the photo-taking process is no different.  Each click of the shutter plucks an image from the obscurity of the rapidly changing scenery.  While sifting through and discarding captured images, I select compelling images saturated with the essence of that moment in time and space.  In doing so, I further reassert control over the inundation of external information.  In my constructed narrative, I choose that which will be remembered. 

Re(Calculating)  2011

Like the paintings, the gouache and India ink drawings begin with a reference photo.  However, I start with a blind contour drawing (reminiscent of previous bodies of work) and then respond to the ink drawing with gouache.  Fidelity of record is less of a concern than the lucid retrieval of felt memory. 

I/O  2012

This body of work examines function.  Usurping imagery from computer components, I draw attention to imagery that is integral to technology yet hidden from view.  Altering the schematics of the circuitry (input) transforms the visual experience (output) and renders void the assigned purpose of the hardware while relegating the encoded information to the realm of painting.