I paint to create. I paint to build. I paint to make something that I want to see in the world.

     

     I deconstruct objects, symbols, and colors found within the urban landscape into a deeply layered composition that echoes the chaos and visual noise I encounter in my daily life. Each element is a recalled visual memory, simplified into line, color, or form. These elements are then expanded and built upon acting as recalled memory often does, clouded and recontextualized over time.

     The initial marks that I make in a painting start off simple, but then begin to build in complexity. Each mark and layer is a direct reaction to its predecessor; developing a painting while being cognizant of its recent history. Simplicity gives way to an ordered chaos of overlapping and often interconnected trains of thought. Each thought affects each other in a growing complex composition. Images appear chaotic and haphazard, but they are ordered in the way our consciousness weeds out visual impulses. Marks are enhanced or diminished by combining them with certain colors, utilizing contrasts and harmonies in hue, value, and saturation. I strive for my shapes to have a familiar, universality to them, yet at the same time look starkly foreign. I like for them to look as if they could exist somewhere around us, but remain unrecognizable. Allowing each painting to develop in this process oriented, evolutionary fashion, without the aid of preliminary sketches, keeps each painting fresh and vital. Using, re-using and manipulating a visual vocabulary of marks and shapes that develop from this process keeps each painting relative, but evolving.