I am interested in imperfection, growth and decay, improvisation, and chance, 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.
Rather than depicting particular living things, my work incorporates 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, experimentally, and expressively – and increasingly toward the expressionist, the raw, the visceral, the fractured, and the primal.
I now see this primal power as another fundamental attribute of vitality that I am attempting to harness and manifest in the studio – whether it is the power of a monsoon in the high desert or the power of the human spirit to survive in the face of trauma. I use explosive gesture, a kind of organic, geometric structure, bold texture, high contrast, and rhythmic mark-making to manifest and symbolize this force.
Ultimately, I understand my work as physical testament to the power and nature of the spirit and a kind of critique of consumer culture and it’s related tendency to endlessly seek and consume mass-produced perfection.