My work explores authority, automation, and abstract concepts embedded in other works of art. I transform my experience as an observer of these works into an amalgamation of that sliver of life, a data map of my relationship with that object. In the most basic sense, I’m attempting to perpetuate that moment in a feeling of transcendence through expression in visual form.
Works represented on these pages are derived from locations in Seattle WA, Washington, D.C. and San Francisco, CA.
I can work on a canvas for a month or two, step away, and return six months later. This pattern sometimes repeats for several years. Living with the unfinished painting month after month and imagining what it might become is my favorite part of the process.
Each painting has its own story: Toronto Dragon took four years to materialize, beginning in a film darkroom; Spiral came alive after ten hours– the last four spent using a blow dryer; Burst is two paintings in one; and, the centerpiece of California Jay is an 1849 Liberty Head One Dollar Gold Coin, the smallest coin ever minted by the United States Mint.
I make compositional choices that reflect training with 35 and 120-millimeter film cameras. I deploy techniques from classic portraiture, human form photography, symmetry, ornate patterning, color temperature, and compositional adherence to the rule of thirds.
Veritas, Auctoritas, and Necrosis feature eclectic sculpture, paintings, architecture and scientific and ancient symbols and patterns. You’ll see 1500-year-old pictographs beside charged particles, quaternions, and pediments from the National Archives.
Influences: Group F64; Dadaism; Classical and American sculpture; monochromatic photography; and American architecture.