I am essentially driven by libidinal and anti-normative desires, coupled with sensitive and concerted attention to materials and to the mechanisms of visual perception. The objects I create both resonate with heroic and cynical strains of object making and seek to undermine these very strains with humility and sincerity.
Each work or series of works is created as a compulsive reaction to the burn of being alive and the spilling over of emotions that accompany the dogged difficulty of managing life. I intend to create visual signs or experiences that approximate the shocks and waves of living.
The transformation of matter, simply put, forms the core of my artistic life and is the human endeavor I value above all others. This is the starting place for the actions that take place when I work in the studio: to make one thing from another, to make marks, to shape, to combine, to deform, et al.
Painting, drawing and collage figure very heavily in my work, and it is in and through these traditions that I respond: to dance with, to fight and to quote. These references are part of a strategy based on using familiar signs that link simultaneously to personal experience and the collective imagination, that make space for something new, compelling and unique.
I feel it is not important, can be even detrimental, to conceive of, or predict outcomes in the studio: accidents, chance occurrences and reaction will direct the coarse of the work. What is important is to be present, to be a sensitive, sincere, focused, open and as powerful as possible. The work is thus finished when either it says it's done or I abandon it and take to working on something new.
In my recent work, I am moving away from image based painting and drawing towards more ambiguous, blatantly abstract and open-ended works that seem to want to define painting as a pure, visual language.
I view art making as a payment- constant and joyfully given- for the gift and paradox of life, and/or homage to the absurdity of the human condition.