STATEMENT OF WORK

I’m always looking for a way to make shape and color trigger bigger associations. I want my paintings to mount a psychological question: can these be real places? Is your imagination a real place if it exists as a painting? I have a singular focus to see everything distilled into essentialized form and color relationships. Using a trove of collected house paints that were rejected or abandoned, I’ve built a catalog of colors that are often impure, grays, and beiges that when used in context, read as a color as opposed to a neutral tone. This spectrum of colors is a personal lexicon that connects meaning, significance, memory, and information to value, saturation, and hue. Looking at color along this train of thought, the very combination or assembly of color is an expressionistic gesture.

I imagine people fill the air with color through their actions and interactions. The architecture we inhabit also projects and exhibits this life, through color, both exterior and interior. Adding bold, electric colors to these homes imparts lively energy to the architectural forms and asks the question: what visions and emotions fill these spaces? Using these architectural lines as a framework to fill with color, the volumes become flattened and made graphic. The ensuing paintings hover at the edge of non-objective painting and pictorial painting, never fully revealing whether to be viewed as elevation or plan view, mental space, or physical space.