My work references landscape and photography. Most frequently, I transcribe scenes from my quotidian experience in order to slow down the process of photography, highlighting the very weighty role of acting witness and the phenomena of observation. For the past four years, I've worked at Trader Joe's, using rollerblades for transportation. Because I live in Fishtown, I end up rollerblading about 50-60 miles a week. The sights along the commute have become a major source for my material. My conviction that observing events creates an opportunity or even responsibility to transcribe the scene, stems from my understanding that art making has a spiritual reality to it, that the Sublime is inherent and accessible through the processes of creation.
Generally, my paintings begin on bright, fluorescent, gridded grounds. Because I work both additively and subtractively, the slickness of the ground becomes important so that I may wipe away paint more easily. In the last year, my body of work has developed in two distinct directions: representational scenes derived from photography and highly abstracted scenes that use grid systems. I have always gridded all paintings and all drawings, using the lines as a tool to help me draw. Over time the grids have begun to feel like complete images in their own right. These faster more minimal executions are still about landscape and figuration, with each line taking on qualities, becoming characters or uncharted, fuzzy dream space. Although it is challenging for me to leave images in a more provisional state, the grid paintings allow me to explore color and space with free association. I have also begun to employ new materials like mesh and velvet for their inherent ability to convey space.