My work recognizes the perils of being the product of material manipulation, and in doing so announces processes of image making. The current objective of my work is to create complicated spaces that restructure sense perception and question logic in a way that uses oil paint to its advantage. The line, being a universal and yet futile form, is the protagonist of each image. But in order to be accurately described, the environment coexisting with the line must be functional as its own painting, so I use lexical source material to ride the wave between spatial abstraction and clarity: this includes found language like poetry or graffiti. Over the past two years, written language has been the armature of formal construction in most paintings and drawings because of its ambiguous legibility, but this is no longer true. I see the use of language now rather as a point of contact for the viewer to connect with imagery. My goal is to make a body of work that recognizes and calls attention to its power as perceived objects by effectively describing the duality of abstract and descript spaces. In each painting I map out a system of problems and render frameworks to solve them, while always referencing art history and contemporaries. I’d function blissfully in an insular and rigorous studio environment considering how my work doesn’t follow a visual format or aesthetic, but rather chases the feeling of an end result. The paintings right now are at a critical state of transformation through exploring idiosyncratic forms. My project, which I attempt to resolve throughout my time at the British School at Rome, is driven by the dualism of using a traditionally market based material to ritualize my emotional intentionality.
Green door, Oil on canvas
Black spiral, Oil on canvas