The series "Parlor Games" is a confluence of Bruegel and Bugs Bunny, enigmatic scenarios that are at once humorous, sexually charged and implicitly violent.
The work is informed by the Slapstick comedy of The Marx Brothers, Charlie Chaplin, Buster Keaton and others. These artists routines were expressions of pure id, unchecked by ethics, etiquette or codes of conduct, a narrative where anarchic socio-sexual dysfunction was explicit.
"Parlor Games" also finds inspiration in music: Cab Calloway's, "Minnie The Moocher", Louis Armstrong's, "St. James Infirmary" and Duke Ellington's "The Mooch", to name a few, also provoke a dark, lurid intensity that finds it's way into this work. Looking at these pictures one gets the feeling that something has just happened or is about to happen, but no easy answers are provided.
The paintings use these artists and performers as a springboard to explore primal, aggressive and lascivious impulses that are an integral part of our nature, and employ the theatrics of an absurdist comedy to create a narrative that call morality and immorality into question.
The series, Snapshots stretches portraiture, traditionally an artists attempt to capture and distill a moment in the life of the subject, by disrupting the time/space continuum and bringing an animated energy to the sitters stasis.
The work deals with the paradox of decay and renewal. Though the destruction of the object, the breaking down of the chemistry and distressing of the surface imply metamorphosis and rebirth, there is a sense of transcendence and exploration of further hidden meanings in the subjects themselves.
This precious artifact, the "family snapshot", a testament to familial love, intergenerational relationships and personal sentiment becomes. through the process of "decay/renewal" a celebration of their lives, their relationships and time itself. They are evolving, tripping out of their distilled and captured moment, into something new. Celebrating and reconfiguring time rather than being relegated and bound by it.