I use flattened space to homogenize the multiple ways visual information is perceived. Different realities, i.e., direct experience, fantasies, dreams, fashion, and digital imagery become one reality, surface as phenomena. Organically evolved and defined by their own gestalt, my works are flat-footed and graphic, with an obviousness to the hand made. Mirroring the overwhelming speed at which information is received they deliver a big bang like explosion or densely packed gravity bound mound.
Precariously built architectural structures reminiscent of scaffold confuse the notion of the ephemeral within the solid. Color, pattern and the detritus of memory are combined into an organized chaos whose tactile references range from thick mud to cold steel to effervescent bubbles. Flowers of optimism drawn in a rudimentary manner are scattered about or packed into building blocks. A sense of unrest is generated in the many subtle nuances of surface. The tension of a line created using a croquill, harnessing a cluster of loosely painted dots offers a conflict of visual time. The very grand and the banal relegate influence, seeking to achieve a harmony between binaries. The abstract becomes real, without divide between form and content. Color (and perhaps sentiment) is inspired from mid-century Technicolor films. Textiles and decorative arts objects and forms; folk art; the digital, design and contemporary art dialogue; limited understandings of science and atomic theory; art made in reverence for reverence throughout time, East and West; sexuality and Punk, attitudes, energy and movement…beckon the question of a common denominator. And faith.
Can extending one's attention span on a doodle undermine the derogatory connotation and give artistic merit, thus elaboration turns attenuated gesture heroic, elevating for the abject ambitions towards a sublime?
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