Statement

Questions of temporality and impermanence, perfection and insufficiency, occupy my work as an artist.  As a counterbalance to our culture that privileges consumption and polished resolution, I am drawn to visual languages that acknowledge instability, incompleteness, and change. Rather than striving for fixed conclusions, my work embraces moments of transition—states where meaning remains open and unresolved.

Ambiguity within the creative process invites questions about the uncertain nature of attraction and aversion. How can a work of art be both alluring and unsettling at once? What kinds of provocations can emerge within the presence of pleasurable color and buoyant form? I am interested in how a painting might hold a balance between the ideal and the real—between beauty and truth—without resolving either.

In the painting studio, oppositional concepts are realized in the color contrasts, shifts in scale, spatial arrangement and layering of forms. Forms and shapes of varying sizes float buoyantly close to the surface. Warm and cool colors add lightness to the jostling shapes while inexplicable elements peer out from behind, drift across the field or invade the edges of the painting. 

The crowded compositions challenge us to make sense of relationships poised on the edge of entropy or at the beginning of a new world.