My paintings explore a liminal science-fiction world of atmospheric landscapes, imaginary celestial phenomena, angels, and thoughtforms. I imagine these environments as a superimposed layer where familiar places take on an unfamiliar atmosphere. The beings inhabiting these landscapes have identities and lives of their own, and their relationships and allegorical narratives develop through encounters in painting.
My interest in these landscapes comes from experiences in meditation, the celestial qualities of the urban lighting grid, the possibility of discovering symbolic systems within everyday surroundings, and the reciprocal relationship between perception and place: how our surroundings shape consciousness, and how consciousness transforms our experience of them. The creative process is a form of self-divination and a way of discovering the invisible.
Material processing and sensory translation are central to my interdisciplinary practice. I explore the relationships between printmaking, tape, animation, and experimental music through their shared processes of repetition, variation, sequencing, and reproduction. Just as sound is recorded onto tape, an image is impressed onto a printing surface; both can be reproduced, altered, and distributed through successive iterations. The sustained tones, repetitive structures, and meditative states of postwar American minimalist music inform my approach to visual composition, while the material processes of printmaking and recording offer ways of thinking about how an artwork moves through time and between mediums.
I approach oil painting as a time-based medium, a ritual performance, and an experience that remains in a state of becoming. Each painting accumulates decisions and impressions over the duration of its making and a message to the future. Once completed, the painting takes on a life of its own, continuing to perform silently through time. These exchanges between material, perception, sound, and image continually reshape my evolving narrative world.
My interest in these landscapes comes from experiences in meditation, the celestial qualities of the urban lighting grid, the possibility of discovering symbolic systems within everyday surroundings, and the reciprocal relationship between perception and place: how our surroundings shape consciousness, and how consciousness transforms our experience of them. The creative process is a form of self-divination and a way of discovering the invisible.
Material processing and sensory translation are central to my interdisciplinary practice. I explore the relationships between printmaking, tape, animation, and experimental music through their shared processes of repetition, variation, sequencing, and reproduction. Just as sound is recorded onto tape, an image is impressed onto a printing surface; both can be reproduced, altered, and distributed through successive iterations. The sustained tones, repetitive structures, and meditative states of postwar American minimalist music inform my approach to visual composition, while the material processes of printmaking and recording offer ways of thinking about how an artwork moves through time and between mediums.
I approach oil painting as a time-based medium, a ritual performance, and an experience that remains in a state of becoming. Each painting accumulates decisions and impressions over the duration of its making and a message to the future. Once completed, the painting takes on a life of its own, continuing to perform silently through time. These exchanges between material, perception, sound, and image continually reshape my evolving narrative world.