STATEMENT OF WORK

My painting often spans various shapes and surfaces all in unison materially by the medium of wax. Either wax laid on canvas or on household domestic wax paper (for food preparation) it acts as the first contact of my painted transcriptions. The wax conducts the movement of my hand as it detracts absorption and presents brushwork and rendering right on the surface. There is a pushing and pulling - wax retracts the viscosity of the paint making me render and “dab” my surfaces into volumetric and linear composition. 

Eschewing conceptually the immediacy of available “images” potentially available (via the internet, social media, photos taken or grabbed) for direct observation and imaginative recounting. This is especially made possible by habitual drawing which spans imaginative storyboards for hand drawn animation sequences or performative drawing to studies of my surroundings both regular and irregular. This interface of drawing to painting sifts my subject matter and implants agency tied to not only form, volume, line but also autobiographical tendencies afforded through geography and localities. My painting itself and the materials embody an attitude and I harness this within my fluctuating wax surfaces of transcribed visions. 

I am concerned with an acceptance and an ongoing understanding of the limitations of both painting and drawing  - within my discipline and as a historical and global tradition. Importanty this is informed by the techniques of classic traditional animation especially from Japan where a cultural understanding of anime entails the understanding of the medium's shortcomings to which inventive gestures and techniques emerge. Conceptually and realistically my painting is an acceptance of its limitations physically, conceptually, and ethically. Painting is a tradition which artists attempt to radicalize but primarily from under the guise of capitalism as opposed to under a radical or anti-consumer mind set. To treat painting like the craft it is simultaneously adding and producing variations from “Art” and global history as the artist Faith **** has theorized is to "remix the original”. My painting is made as a signifier of my own purpose and limitations of perception. My paintings mostly avoid monumental proportions in reaction to the global inclications and valueing of "size" and real estate which all go hand in hand in the market which we are all a part of.

Much of my the painting is in flux between unfinished and finished; not started or started; constantly in progress or generally "ongoing”.