Growing up in Downtown New York City in the 1980’s, I was bombarded by media, noise, and crowds, in an urban environment constantly in flux. Man-made objects and culture constituted what I knew as nature.
My paintings and drawings draw from personal imagery, depicting a kind of absurdity or perversion: of nature, labor, leisure, history, technology, or my personal life. This is reflective both of an individual (my own ) experience of the world, and at the same time as critique, casting progress and civilization in the light of the carnivalesque. Often, I will repeat imagery over and over again, in a gesture of processing and also of creating several voices for a single images.
The paintings start with a strong image, or from drawing, and use the materiality of the paint to complicate the image. The paintings are layered with paint, and through the successive layers, the images develop internal relationships . After enough layering of paint, the image begins to disappear somewhat, into the painted field, and into materiality. This practice has its origins in Turner and in the Nabis painters Bonnard and Vuillard, yet my purposes for using the technique are different.
In addition to painting and drawing, my artwork can take the form of performance, video, and happening. At times I will create a novel context for my artwork, drawing out a tension between our familiarity with art and the immediate experience at hand.