The human dependence on inorganic matter and nonhuman existence is the very fault I excavate from for my inspiration; geological transactions as it implicates human relationships. As a painting based artist I began with the investigation into the origins and chemistries of applied color. Furthermore, with consideration of chemistries defining our extended built environment. What is revealed about the processing of such can connect these geological interests to human histories, behaviors, and realities.
In complaisant gesture, the sculptural work are vignettes dressing abstract figurines of casted earthen matter. Appraising finiteness, hazard and expense they are modest in size; they stand for careful indulgence. This rehearsal of an unconditional hospitality still lies in the waking patriarchy, globally domineering and exclusive.
My studio agenda is organized as a web of entendres. I tease and fuss with language, as it describes society, and appreciate its to reappearance, reified, folded over and contradicted. In parallel, my descent into alchemical practice is with minding the quotidian experiences which define politics as human cooperation and consequence.
The persistent update in the formalities of my painting is measure by the integral yet humbled position of the painting. Sometimes it is the dissection of the valor in an image or figure, the gaudy application of paint for distortion, the cooperative between architecture and internal composition. Nevertheless, these various decisions are employed for cultural, historical, and art historical semblance intended for the arrangement of poetics.