I am inescapably drawn to visual events and the conscious impulse “to see.” This work is the result of my experimentation with the thresholds of sight in a compressed, competitive environment of distraction. Shapes and forms that are flattened, folded, nostalgic, artificially organic, architectural, or teasingly animate, confront and enable distraction in order “to see” the lived phenomena it leaves in its wake.
My long interest in color is much connected to this exploration. Here color itself distracts, reverses field, and creates secondary contexts. Color expresses variation and moves unapologetically. Color grids and color grinds. My palette is taken over by colors as flat as the whitewashed mineral-coated plastic bottles in the shower or salted and adrift at sea, the color made false by market testing, the color blanched by the glare of social contradiction: tainted tints that are coded human-made.
Maybe my statements are akin to noise cancellation, where the content and volume is isolated and a mental architecture can be heard. Or maybe this rephrasing and devising of parallel forms, colors, and spatial logic are an inoculation from the multiplying pathogens of distraction. More simply, this work is both my contemplation of and my reprieve from the world of diversion-as-reality.