My experimental and process-oriented studio practice is driven by the desire to deconstruct and make sense of complex human experiences. I make abstract assemblages out of found materials, photo transfers, paint, and resin. I’m drawn to materials that reference technology, connection, and strength. My photographic sources come from microscopic and medical images of my own body, as well as references to cosmic or macroscopic events. Cellular structures are juxtaposed with star charts, and the architecture of the body meets the architecture of the universe. Embedding these references together allows me to excavate conceptual themes such as the passage of time, externalizing the internal, and the resilience of the mind/body.
The surface of my paintings has become the site of contact between artist and artwork, and between artwork and viewer. They are layered and haptic, and encourage an interaction both visually and physically at times. Reflective areas simultaneously incorporate the viewer into the work and partially obstruct the visual field. They oscillate between 2D and 3D while also fluctuating between part and the whole.
Through the process of building up these surfaces, this body of work sutures together the personal and political, while grasping for an empathetic philosophy within a near dystopian reality. The surfaces then become portals for connection, communication, and repair.