My work’s focus lies in pacifying the boundary between objective physical truths and emotional perception. Frequently this means confronting or coping with illness, loss and the search for meaningful action. Though universal issues I can only hope to understand and process these issues through my own mind and body. This results in work that is stubbornly handmade. My body, with particular stress on my right wrist and hand, translates my meditations in a tactile/visual way.
The physical work makes use of repeated, patterned and simple marks. Contained in each piece is a meditation on the nature of labor and perception of time. The resulting image is a record of my travels across the page. Each mark is part of a language whose ambiguity masks its simplicity. Meaning is folded into the repeated gestures that make up the whole form. I am intrigued by the space between ambition, worry and consequence.
I see myself serving as a type of translator attempting to capture the rapport between the physical and emotional/spiritual. Pieces read as maps, microorganisms, stitching and pattern. What they are is more akin to an exoskeleton of a mandala. The images provide clues to the departed spirit of each piece. The lines and dots are data which can only be translated through sensitivity towards the nature of each form’s growth. They call for submissive observation, over time revealing each form’s history: the growth perpendicular to each gesture, areas of condensation and release (both controlled and violent), negative space hinting at past orthosis.