Artist Statement:
I want to spend my career becoming masterful at adaptation.
This is reflected in both my artwork and teaching, where I use many approaches and process to execute ideas. Approaches to artmaking most recently include the use of symbolic narrative, poetic distillation, nostalgia and pastiche. Ideas herein are carried out in a variety of mediums, some traditional, some new, some fictitious. Though many intentional visual qualities may be shared within a series, similarity in my catalog of work is not a priority. Having "my work" recognized as such is not an objective. The art I seek to make is instead more tooled to initiate impactful experiences--impactful in a way that is only developed through an efficiency of material and imagery. Such efficiency requires a post-medium usage of the studio and a fluid battery of skill-sets. There is a richness and excitement in this diversity, hopefully for the viewer and myself alike.
Regarding Philosophy:
While everything above would situate me far removed from Modernism, I am deeply entrenched in aesthetics, and moreover, craftsmanship. That being said, I seek discursive experiences that initiate a dialogue as opposed to making statements or creating expressions. In fact, the notion of artist-as-creator is hardly something I strive for, rather I see myself more like a general contractor that rearranges narratives and languages--All of which have existed prior to the creative moment. This would seem to position me inline with Post-Modernist theory if not for an unflappable interest in Romanticism. Like most things after-modern, my work is a hybrid of interests and approaches.
Regarding Subject Matter:
The experience of information transfer is, ideally, much like passing you (the viewer) a note under the table. Devices for entry into this conversation often utilize common human experiences like sadness, humor, joy, satire and loneliness. In choosing subject matter I consider the viewers without exclusivity, hopefully building an experience that has enough visual/visceral/conceptual layers to communicate with a variety of viewers. Subjects have included myths of the West, mapping, landscape/terrain, the hero/anti-hero, family, children's books, political critique, and explorations of memory.
Please search through the many sub-galleries found here and email me should you have any questions. Don't forget to visit my teaching blog and online store!
I want to spend my career becoming masterful at adaptation.
This is reflected in both my artwork and teaching, where I use many approaches and process to execute ideas. Approaches to artmaking most recently include the use of symbolic narrative, poetic distillation, nostalgia and pastiche. Ideas herein are carried out in a variety of mediums, some traditional, some new, some fictitious. Though many intentional visual qualities may be shared within a series, similarity in my catalog of work is not a priority. Having "my work" recognized as such is not an objective. The art I seek to make is instead more tooled to initiate impactful experiences--impactful in a way that is only developed through an efficiency of material and imagery. Such efficiency requires a post-medium usage of the studio and a fluid battery of skill-sets. There is a richness and excitement in this diversity, hopefully for the viewer and myself alike.
Regarding Philosophy:
While everything above would situate me far removed from Modernism, I am deeply entrenched in aesthetics, and moreover, craftsmanship. That being said, I seek discursive experiences that initiate a dialogue as opposed to making statements or creating expressions. In fact, the notion of artist-as-creator is hardly something I strive for, rather I see myself more like a general contractor that rearranges narratives and languages--All of which have existed prior to the creative moment. This would seem to position me inline with Post-Modernist theory if not for an unflappable interest in Romanticism. Like most things after-modern, my work is a hybrid of interests and approaches.
Regarding Subject Matter:
The experience of information transfer is, ideally, much like passing you (the viewer) a note under the table. Devices for entry into this conversation often utilize common human experiences like sadness, humor, joy, satire and loneliness. In choosing subject matter I consider the viewers without exclusivity, hopefully building an experience that has enough visual/visceral/conceptual layers to communicate with a variety of viewers. Subjects have included myths of the West, mapping, landscape/terrain, the hero/anti-hero, family, children's books, political critique, and explorations of memory.
Please search through the many sub-galleries found here and email me should you have any questions. Don't forget to visit my teaching blog and online store!
