My current body of work explores a single form in myriad ways and is fundamentally rooted in an investigation of the shapes of limbs and structures found in nature, specifically the West. I am interested in how everything appears so naked and visible in these stark spaces. In horses, which are commonly portrayed in my work, you can see the shapes of their bones, tendons, and muscles, and in the desert, you can see the dirt, the sky, the close up, and the distant; not much is shrouded.
The tension between abstract and recognizable subject matter is important in my work. Dissolving the separation between subject and ground serves as a starting point for breaking apart the quotidian. My work invites viewers to drop preconceived ideas about form, perspective and order in favor of a fresh, unbiased re-examination of the familiar.
My process is derived from Modernist practices including dripping and dumping paint, flattening of perspective, utilizing expressive brushstroke, and emphasizing personal intuition. I start out with a reality based image mined from my own sketches and photos, and then evolve on a trajectory towards sublime integration. Abstract painting is compelling to me because I believe that personal expression is a way to invent meaningful imagery and open a door to the universal.