My artistic process is a response to my present location. Starting with the artifacts and surfaces of the place in which I reside, I construct images that investigate the accretive effect of a place being lived in. The forms expressed are in conversation with a number of creative influences– most prominently, the artists and poets associated with the San Francisco Rennaissance and the Black Mountain College.
 
My vocabulary manifests as a mélange of forms: incidental marks, street grids, landscapes, architectures, photography, signage, detritus, light, and space. Elements are built up, covered, scraped down, shifted, and reworked according to their own changing logic and circumstances. Upon first view, incidental scuffs, cracks, and markings in the urban surface could be found practically anywhere, yet they serve as a fingerprint of a particular place in time. I am interested in how ordinary minutiae mark the passage of time and people, and how they speak to what is forgotten or left behind in our social consciousness.
 
The images themselves are formal explorations of my lived environment–  they straddle the boundary between the abstract and the recognizable, the intentional and the unintentional, what is preserved and what is lost. The fragmentary, slow, and focused nature of their making is a response to the rapid visual culture of the digital age. I am drawn to the intersection of painting and print media, two antiquated mediums that, despite their supposed obsolescence, continue to be utilized indefinitely.

For years I have witnessed my home region of the San Francisco Bay Area become completely transformed by wealth and real estate speculation. Given San Francisco’s history as a Gold Rush settlement sitting on a major fault line, its metamorphosis should hardly be surprising– yet its rapid class-cleansing and concurrent change in cultural identity has been a shock which is grounded through the making of artwork. Even as I change locations, the work is one mechanism with which I physically and mentally process impermanence. In highlighting  ephemeral details, I allude to the transitory and transformational identities of these locations we call home. The images beckon viewers to slow down, and to look more closely and deeply into the places they inhabit.
 
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