My artwork explores the expanse of “gray area” in between what we can visually recognize and what we deem unrecognizable.  This concept manifests through networks of exploding, intertwining forms and tangled swarms of lines in the midst of raw canvas or semi-opaque layers of paint. Curvilinear and angular shapes are woven together to create forms that vacillate in and out of abstraction.  Emerging from this are many images including representations of figures, foliage, sinewy muscle tissue, the human brain, weapons, machinery, structural diagrams, and architectural floor plans.  Frequently, these elements are differentiated by dozens of topographic layers of clear acrylic paint. Some are only revealed to the viewer after an extended period of time spent scanning the various areas and layers of the piece, created by a technique of stretching additional pieces of linen or cotton fabric over the original, underlying canvas. The layers of fabric are sealed together with either glossy or matte acrylic medium, creating an effect that slightly resembles resin or encaustic painting.

The fully recognizable end of the gray area spectrum is rendered in oil on the most superficial layer of the painting. Consequently, these images are meant to explore and dissect the superficiality of the elements of society they depict.  Each piece acts as a stage for painted performers to enact previously unseen narratives stemming from my personal experiences and observations.

A lot of my role models growing up can be classified as mask wearing entertainers.  I often call upon these artists, actors, musicians, superheroes, athletes, or comedians to distract me from stress or responsibility.  In a fear driven mass-media culture that somehow recycles machines of war into consumer products, and where the business suit is the ultimate status symbol, these performers can offer a true sense of sanctuary and hope.  Despite this they often seem so shallow and insincere.  In my art I intend to provide a new, critical context for these figures for whom I have so much respect, fear, and curiosity.

I find it important to infuse my art with the framework of humor and sarcasm.  Thus, among the various performers in my paintings, the clown or fool is a prominent one.  As a child I was very intimidated by these masked jokers, yet now I find them inspiring.  I like to draw attention to the idea of using humor as a guise for progressive ideas and truths.  Throughout history, the clown, or comedian, is often called upon by the monarch or leader to lift them out of a bad mood.  This provides an intimate platform for a common person, wearing the jester’s mask, to communicate directly with a person of immense political power.  Consequently, a bridge of is built between polarized socioeconomic classes.

The skin of a clown is painted and clothed in excessive patterns that mirror the visual noise we experience everyday: thousands of images being hurled at us from every direction. Despite this, I see the clown’s costume as merely an exaggerated form of any of the other uniforms, clothing, or even mental barriers we wear in our lives.  When we wear these types of uniforms, we are able to erase our personal identities, our bodies, and take on more universal identities laden with enormous amounts of historical baggage.  My art examines the point at which a costume goes from marking uniqueness and difference, to begging labels and stereotypes.

How do we categorize ourselves?  We are drawn to uniforms, costumes that beg labels and stereotypes.  We revel in routines and habits that give us a daily sense of security.  Our role-models perform these activities flawlessly and we pay close attention to every superficial detail.  It becomes easy to invite a seductive consumer trend or to be instructed to desire a certain ideal.  Things are portrayed so perfectly. A perfect love, a perfect exaggeration, perfect sex, a perfect trip, a perfect plan.  Is perfection ever possible?  What images are we used to?  How can we regain our sensitivity to an image we have seen over and over again?  In a society where seemingly every message has a hidden agenda, where do we find truth?