The fabric of the universe is just that—fabric. We stitch together our boundaries, when, in reality the universe is limitless. We erect walls around ourselves both metaphorically and literally in order to create a sense of security. These walls deter our species from the only true necessity—survival. These walls are masks. We all employ defense mechanisms to guard what resides in the depths of us.
The manner in which the figure is painted combines the deconstruction of shape, color, light, and shadow, with something that references both realism and abstraction. Fragments of the figures maintain defined characteristics where other areas are rendered flat and trail off. The final shattered image is a metaphor for the way in which we – like chameleons- obscure our identities.
The shattered wood slats reference the ocean of orchestrated social construct. They represent something we are familiar and comfortable with, the building materials used for constructing shelter. Here they are so out of place they mimic the aftermath of disaster. It is rather humorous that one of the only reasons we fear natural disaster is because we are surrounded by man made shelter; skyscrapers, freeways, bridges, etc. Is it not ironic that the largest threat in most potential catastrophe is the threat of our walls falling, of our constructs crumbling?
In my work the pretty painted wood slats attempt to divide up the unadulterated nature (if that even exists), our interpretation of their presence in these spaces questions their place and order in a world of natural chaos. Moments of my paintings open up into something vastly unknown yet extensively more real, more constant. What is more real than the stars in our sky? They will be here longer than we will. This not only reminds us that there is something far greater than the walls around us, or the fabric on our chests, it reminds us that they are just paint on substrate, again, a flat construct that alludes to something deeper and farther away. The natural wood of the panel or the implication of nature penetrates the brush strokes, interrupting the pieces with the natural beauty of something beyond our creation.
Stacked high like unkempt files, memories pile around my mind, their dusty tabs beckoning further investigation. My new works explore the idea of memory as debris and the inevitable artificiality that interferes with the natural landscape. Just as my mind was once a pure space, it is now cluttered with remnants of past experiences that carry with them visual and emotional weight
defined by different moments throughout my life.
The real and unreal blend together as my imagination is confronted with past experiences and the landscape that they occupy becomes an amalgamation of unbridled imaginative youth blended with re-occurring references to the physical world. Both the figure and the loose clustering of artificial objects create a complimentary dialog with each other and the environment in spite of initially appearing as intrusive.
Here the landscape is akin to a young child’s messy room, wherein even a jumble of mundane
memories can take on the most magical form.