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Bodies of Work

Artist Statements



I seek to understand the construction of a perceived beginning to our universe, and the vast space that we inhabit. For me, the expanse of the universe and our existence within it creates feelings of humility and respect. Understanding organization of such phenomena is overwhelming and inspiring. I explore the inception of our being, our relationship with one another, our role in this world, and ultimately, how these all bear a connection to our Creator.


In many cultures, the circle is a symbol for life, death, and rebirth. The foundational structures of existence are orbicular through structures like atoms, cellular components, social geometry, and galactic motion. The simple shapes in my work express movement, time, and the nature of the cosmos. Producing images that exhibit grid-like conformation and repetition of forms alludes to the idea of conception and also satisfies my inclination for organization.


My process includes layering and working over previously developed marks to express stillness and passing of time. The organization of the grid structure and my ability to guide and manipulate multiple mediums in my work exhibits a facet of what I am able to control within my immediate environment and placement within the natural world. My studio practice is a speculation of my spiritual and biological connection to my environment. It is also an exploration of how what I create is linked to the dimension of time involved in creation itself.



The Pacific Trash Mass is an immeasurable mass of debris; plastics, netting, trash and other harmful, non-biodegradable materials that is affecting our environment, aquatic life and birds in a dangerous way. My work reflects the movement and environment within the mass, bringing an elegant beauty to a terrible mess. I aim to allow the viewer to experience the aesthetic beauty of the pieces before truly understanding the concept behind it. This aesthetic beauty parallels the misconception of a clean and safe environment that is free of harmful and hazardous materials.


My creative process is physical by collecting plastics that are found within the trash mass and creating a “plastic vortex” within my studio space. By creating a physical representation of the trash mass, the abstract idea of an intangible, immeasurable mass is now tangible. Using the natural fluidity of watercolor speaks to the movements throughout the Pacific Trash Mass. In my work I aim to create ghost-like imagery of the plastics that are subtle and soft to contrast its true effects of being harmful and toxic to our natural world.  



This body of work involves the exploration of the alteration and manipulation of natural elements and the effects that they produce within our body. The images I am using are microscopic cells that I infuse with synthetic and toxic color to form a tension between artificial and organic growth. This organic and fictitious world is complicated by layering images through digital filters. It seems that our environment has been mechanically altered in ways that produce thoughtless destruction and useless consumption. This manic growth of harmful, useless consumption is running amok in our world. I question if it is assumed that we are part of nature and how altering and surviving in our world form a paradoxical relationship. 



The driving force behind my paintings are my perception of the colors, movements and shapes that the sounds of a particular location might assume. Ambient noises within fabricated and natural settings stimulate the images I create. My process is initiated by the selection of particular locations; which tends to be an exterior; architectural space paired with a specific, audibly heavy or sparse, noise. I attempt to organize and pinpoint the tonality of these sounds according to their original source in the actual space. As I am doing this, I view the landscape as a panoramic expanse and translate these sounds into color according to each unique noise placement.  By adding architectural or geometric elements I want the viewer to visually enter the space and essentially walk through a reverberating sound and experience it as a physical entity. Through my process I aim to create a sense of history and time by the layering of tracing paper, mixing of oil and latex paint and use of watercolor.

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