STATEMENT OF WORK

I make paintings rooted in observation, condensed from memory, and based upon constructed models. These various methods of working account for a subjective way of looking at the world—a space where the specificities of place and time are folded in with the slipperiness of recollection and fantasy. Whether painting an enveloping dark or obliterating light, I engage in a process of rendering something which cannot be looked at directly or in full, and can only be seen through what it casts off or leaves behind—shadows, words imprinted in the mind, a lingering feeling on the skin.

My most recent body of work consists of observational oil paintings made at night. I work en plein air, as well as in and around my home. In this mode of working, my painting-vision encompasses both what falls under the light of my headlamp and things outside the realm of the visible—the buzzing of insects, the frigid night air, a flash of memory overlaid on my view of the landscape. Whether working in nature or in a domestic setting, I look to disrupt the logic of perception in favor of a subjective, embodied, queer way of encountering the world. I constellate and collage different moments together, warping the pictorial space as I move my body around in the act of observation. I move towards an impossible view of the world by attending to what is already there.