I’m fortunate to be able to leverage the power of social media to distribute my work freely around the world and engage people of all different backgrounds traditional avenues wouldn't be able to reach. Art and it's messages should be for everyone. We’re entering a whole new dimension of accessibility. It’s exciting. Koons stated that “It’s really about expansion, trying to create a vaster world, a more interesting world.” It’s a quote that means a lot to me. At the end of my career, I'd love to think that I left the world slightly larger.
I need to paint. Painting is how I see and process the world. There is a visceral connection for me in applying paint and color to canvas. Carving textures. Mixing oils and pigments. Creation. All of my work starts with an idea, emotion or event. A combination of colors. A trigger. From there, it is a dialogue between elements of the painting, the tools, and myself. The paintings evolve and change as the paint mixes on the canvas. I try to clear my head of any preconceived idea of what I would like the final product to be. It has to evolve on its own. What I feel and what I take from the canvas must find its own direction.
There are essentially two paintings on each canvas. The base layer and the shapes. The base layer is the evolution and the deconstruction. It can be up to an inch thick of paint. It is everything without form, a journey born out of an evolution guided by color, texture and movement. It is my thoughts and feelings carved onto the canvas and it evolved into a life of its own with each stroke. Chaos. The shapes are the counterbalance. They represent my attempt to construct a framework for understanding my journey on the canvas. In the square series, the squares are impositioned with a maddening degree of repetition and variance. My frustration. They are windows and they are manufactured form, each an imperfect structure. They represent my feeble attempt to construct a system of controlling and processing what I see and feel. Essentially, my attempt “to put a box around it” so I can consider the material processed in my mind. A failure each time. We are limited beings. I think that is why there is a major disconnect between what we see and feel in this world and our ability to process and understand it.
My digital art flows from the paintings. I’ve termed them digital glitch paintings. They are each an animated image, a compilation of multiple versions of the digital file of a paintings. Each version has the most basic level – the computer code - corrupted. The resulting digital file is “glitched”, skewed. The paintings become warped and I further corrupt each subsequent version of the file. When combined together and played in sequence, the animated image, the paintings - my feelings, my forms and processes, are deconstructed and reconstructed in a jarring, unending loop.
I look forward to my next series by continuing to explore these themes by breaking down my structures and adding a new dimension of light with photoflorescent pigments.