As a life-long learner, I prefer asking questions over making pronouncements. I value curiosity, exploration and adaptivity. I make work to surprise myself. I prefer visual discovery and seduction over distilled meaning. Awe over argument.
Intellectually and creatively, I let my curiosity guide me and refuse to sit still when the unknown beckons. In my art I have explored—among other things—cognitive mapping; the phenomenology of Google Street View and other online images; the Situationist International strategy of “dérive” (intuitive exploration of urban space); visual synecdoches; the shapes of unreliable and evolving memories; the affinities and tensions between inanimate objects; and the impossible nuances of the human form.
Over 25 years, however, the perception of and interaction with space have consistently driven my work. So, too, has my interest in painting as process. I paint nouns—people, places and things—because they activate space. I am focused on how I make a painting, prioritizing formal qualities over subject matter, for the same reason.
Currently, I am focused on the suburban sublime and the spatial intimacy of wonder. In a time of political, societal and technological upheaval—and in rejection of amplified egos and algorithms of intelligence that threaten social and personal wellbeing—my imperative is to explore and celebrate my own environment. I choose nature, relationships and community over the promotional and striving self.
Intellectually and creatively, I let my curiosity guide me and refuse to sit still when the unknown beckons. In my art I have explored—among other things—cognitive mapping; the phenomenology of Google Street View and other online images; the Situationist International strategy of “dérive” (intuitive exploration of urban space); visual synecdoches; the shapes of unreliable and evolving memories; the affinities and tensions between inanimate objects; and the impossible nuances of the human form.
Over 25 years, however, the perception of and interaction with space have consistently driven my work. So, too, has my interest in painting as process. I paint nouns—people, places and things—because they activate space. I am focused on how I make a painting, prioritizing formal qualities over subject matter, for the same reason.
Currently, I am focused on the suburban sublime and the spatial intimacy of wonder. In a time of political, societal and technological upheaval—and in rejection of amplified egos and algorithms of intelligence that threaten social and personal wellbeing—my imperative is to explore and celebrate my own environment. I choose nature, relationships and community over the promotional and striving self.