The Big Gray Con
My paintings are cultural documents based on my artistic experiences past and present, drawing directly from self-analysis.
In these paintings I find myself increasingly influenced by memory and how it works, namely that our memories are just recollections of the last time we remembered a moment not the remembering of the actual moment or event itself. As these ideas developed in the work, complemented by my confronting varied present experiences, I was intent upon addressing the paradoxical point of breaking down the relationship between art and life, while at the same time increasing and reinforcing it, making reference to pictorial structures that have movement and stability simultaneously.
As a young boy to this day I have always held a fascination for marbles and marble games, yoyos, World War 1 Biplanes and repetition, oh as well as a reason why I arranged my Smarties in a pattern and ate them in a sequence to retain a sense of symmetry. In this respect my work is closely tied to personal experiences that communicate ideas related to competition and power as well as alienation and perception.
The physical presence of my work provides certain aspects of its content relating to intimacy and the personal conversations held between me and myself. These paintings reflect the private thoughts and feelings, or better yet, how I recollect I felt and thought about the world when I was seven or eight.
This type of work may be characterized as a negotiation, constructed out of the experiences of myself, the spectator, and responsive to outside conditions.