I create visual hybrids of drawing, painting, sculpture, and installation. The foundation of all that I make is line. I explore the idea of a line as a representative of movement, spatial relationships, and time. The line is a direct reference to commuting in my car and the meandering quality of the viewer’s movement and mind traversing the space that I am working on or in. I use line to translate my thoughts, experiences, emotions, and sarcasm into an abstract visual language. The language that develops weaves in and out of the ideas of mapmaking, simple color relations, geometric shapes, spatial relationships, and the implication of meaning and purpose.
Whether it is two-dimensional or three, I use it as a generative resource that informs how the piece will develop. I enjoy the idea of a simple origin or process that can build to a complex form or stay as a simple independent interaction in space. A single line can cut a space into parts, alter your movement, draw your attention to overlooked details, or grow into a tangle ever growing mass. This interest in how a line can move, and more specifically how line is used to represent movement, stems from my commute during undergrad and grad school and the overall “long path” I took to get where I am today.
I am also starting to address awkward interaction and the nonsensical object, how an object can imply function but ultimately fails or lets you down, and the theory of the five dimensional object (3 in reality – HxWxD, 1 in time, and 1 in indetermination). These interests and my constantly evolving visual language are brought together through a mixture of intuition and planning. By creating a layered image through drawing, painting, cutting, and constructing a sense of fragmented time and reference emerges which reveals a documentation of events. This system of addition and reduction allows me to magnify the unexpected and build upon my mistakes or accidents.
I enjoy having a different projects going on at the same time. This allows me to retain a high level of interest in each work and help the creative process succeed in each. My drawing process is a more intimate studio practice compared to the sculptures I make. I can sit at my drawing table and get lost in a piece, whereas the process in which I create my sculptures has me constantly moving. The images created start to question the function of the picture plane which contain both a real, observable space often made of a line intermixed with geometric and organic shapes and a more metaphorical space that makes you question the plausibility and function of other elements within the space.
The resulting images can present themselves as a specific object, I’m not interested in that; instead how see how the spatial context which they have been placed is newly ordered by their presence and how it may be more clearly experienced as a spatial structure. I also enjoy how the piece can imply a function or purpose but upon inspection do nothing. Kind of like this statement.