Artist Registry
The White Columns Curated Artist Registry is an online platform for emerging and under-recognized artists to share images and information about their respective practices. The Registry seeks to create a context for artists who have yet to benefit from wider critical, curatorial or commercial support. To be eligible, artists cannot be affiliated with a commercial gallery in New York City.
To apply to the Registry, click here. Join our mailing list here to receive our open call announcement and other programming updates. For any further questions about the Registry, please contact us at registry@whitecolumns.org.
STATEMENT OF WORK
I am a visual artist based between San Diego, CA and New York, NY. I investigate the physical architecture and symbolic structures of urban environments and landscape. My paintings and mixed media installations obscure context and play with perception, shifting everyday spaces into puzzling formal compositions. Referencing domestic interiors, storefronts, and transportation hubs, I explore how mundane sites elucidate our society’s approach to place-making, material culture, and reinvention.
My process involves manipulating scale and perspective to disrupt visual recognition. I explore the relationship between flatness and depth through pattern and framing devices that draw inspiration from doorways, fences, and facades. Honing the power of reflection and fragmentation, I use both thick and washy, thinned-down oil paint to create a range of materiality and transparency, so that different image-making techniques come together in a picture plane.
After graduating from my MFA at Columbia University (’22), I moved to Southern California and was introduced to new cultural and artistic influences. Geographic proximity to the US/Mexico border and the legacy of the Light and Space movement expanded my engagement with threshold spaces and perception. In January 2023, I founded Two Rooms, a gallery and project space where I curate exhibitions and collaborate with emerging and mid-career artists.
Recently, I have worked serially, pushing my practice’s narrative and site-specific possibilities. My recent series of Las Vegas landscapes, Striptease, are unified by compositional constraints, color consistency, and paint application style. Film strips, billboard signs, and vast desert flatness inspire the exaggerated horizontal format and graininess of these night paintings. My current body of work, Intercom, is a series of 71 pairings of light switch covers printed on velvet and mounted on mirrored acrylic. The images are sourced from the internet and expose a vast commercial network where identities are expressed through a simple domestic object. Arranged sequentially, Intercom is an invitation to play a game of association.