If an artist/art student, my primary medium or mixed media is:
Painting, Sculpture, Ceramics, Assemblage
The undeniable existence of the self resonates in every aspect of life. My deviation from societal expectations has ultimately brought me closer to that realization. Process and experimentation have proved to be valuable factors in the development of my current body of work. The past provided a sculptural, technical and historical knowledge that set the foundation for my creative process. I have a fascination with the manipulation of material and found forms. Painting, printmaking, digital imagery, and drawing have only recently become evident within my technical vocabulary. As a result I have found that diversity and integration of multiple mediums causes complex problems. Understanding these problems and balance within compositions, engages my divergent digital thought process resulting in a calculated development of coherence.
Recently, I have been working with wood panels that project from the wall. The wood offers a structural base that allows for a variety of creative approaches. Marine-grade plywood has a beautiful flowing grain, an ability to be cut, sanded, and even burned with metal objects. Found forms organized or loosely placed on the surface become inherit stencils for spray paint and airbrush. Digital photographs are manipulated to remove identifiable characteristics. These images find their place transferred in layers upon the surface of a gelatinous medium. Paint in all manners, define forms, create dimensionality, and formalizes space. Multiples and/or individual found objects accentuate and protrude from the composition. Activating the space with this type of layering of information creates degrees of dimensionality that mask what came first and what preceded. I don’t want my process to be completely identified, broken down or deconstructed.
My most recent collection of surrealamorphic works in pencil, watercolor and gauche, represents a personal focus on dimensionality and transitions. These unnatural specimens evolve from shape, layered in a way that accentuates compositional dimensionality and focal points. Each specimen is given either a common or scientific name derived from research, word manipulation and from objects used in their creation.