Statement

My work deals with the relationship between the subconscious and physical space. It is about the emotional and reactive navigation of the canvas. This process relies on seeing and feeling the signs before me that lead to the next move, and building a composition that is primarily based upon a lyrical approach to abstraction.

These paintings are engineered with a combination of lavish mark making, natural gesture, and shape integration, sustained within a unique abstract visual language. The forms derive from a primal and unconscious recognition of my memories, dreams, and surroundings, digesting and transferring this complexity into a cascade of recognizable but irrational space. This system of abstraction mostly constructs itself through intuitive actions, combined with an innate awareness of spatial relationships.

When examining the surface of the oil paint, channels of rich color intermingle with indefinite organic forms. As the layers build on one another, the composition amplifies into a textured expansion, where a sense of motion encounters a fragmented system of shapes. Together these elements simultaneously interact with the space, creating tension in some areas, and solving it in others.

Contemplating the layers within these unique abstractions, the work displays a distinctive style of prominent physical application, transcendental pathways, and investigative pigment arrangements. Among many methods to approach non-objective painting, the structure of electronic music is utilized, paying close attention to the layering of different sounds on top of each other. The interweaving of audio and visual processes is especially relevant, in that each piece is built by joining these parallel creative practices, and looking at the similarities in formation. This energy is then automatically recast into the layering of varied surface levels, and an assortment of physical consistencies. The result is an influential form of received sensory impression.

The process of synesthesia is utilized in the production of these works, by valuing the purposeful stimulation of multiple senses in tandem. This perceptual phenomenon leads to involuntary experiences in a second sensory or cognitive voyage, leading the construction of this intricate aesthetic.

 

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