Painting, for me, is a journey of possibility. As a painter, I do not always use paint, or comply with standard painting surfaces and edges. My primary focus is to infuse my paintings with the principal qualities that embolden the places we hold dear. Always, I am concerned with how to activate a space, whether two dimensional or three, that in turn blurs the boundaries between art and architecture, artistic practice and ritual living.
In my work, I address memory and how place is perceived through the lens of experience. Merging opposing elements of near and far, the smallest of minutia to the grandest topography, I make works that are in essence, Portraits of a Place. From the tiniest grain of dirt or pore of skin to the pale blue of the most distant mountain range or city scape, there is much to be learned about where one is rooted and why these places make us feel the way we do. Now, more than ever, it seems imperative to do so.
As a painter, I work in a way that allows me to get lost in the intricacies of space. My biggest predicament is to push the boundaries of what a painting can be, while distilling experiential space to its very essence. The 19th century french poet, Stéphane Mallarmé had it right when he stated, “It is the job of poetry to clean up our word-clogged reality by creating silences around things.” It is what I try to do in every piece I make.