I am interested in imperfection, growth, movement, and improvisation, as concrete attributes of vitality. I understand my impulse to manifest these qualities in my work as a sort of resistance to the generic, impersonal perfection and mundane predictability of the machine/information age. I do not depict particular living things – instead, I seek to incorporate the deeper, universal qualities of the living – the cracks, the roughness, the emotion, and the spontaneity of the real. At least, this is how I have come to understand my current work, which has developed intuitively and experimentally toward the expressionist, the raw, the visceral, the fractured, and the primal.
I use explosive gesture, forceful mark-making, sculptural textures, emotive color harmonies, and a variety of experimental and traditional media to manifest this vital, primal force. I prefer working on raw supports – raw canvas, raw wood, raw board – and leaving passages of the support exposed. This practice allows me to create a kind of literal depth in my work without resorting to traditional illusionary techniques and to emphasize the physicality and character of the natural materials I prefer to use.
My process is supra-intellectual, improvisational, physical, and charged. It is also highly focused and intentional, as I seek out a certain order, intelligence, and interdependency amid the organic chaos. This tension between the animalistic and the structured is intentional. Without some order and intent, there is meaningless chaos; but, without spontaneity, imperfection, and emotion, there is meaningless order.