My art is idealistic, plural, and impractical. I make the work in a spontaneous and direct manner. I call upon a viewer’s understanding of daily production and repetitive work. The strength lies in my art’s elegance and confidence. I paint reassembled patterns seen on quotidian objects, spaces, and places. Culling ideas and inspiration from my own painting and drawing as well as painters before me, I flatten the hierarchy of fine art and fun art. I make meaning out of meaninglessness.
Each of the objects – and there are many – is made of ordinary materials such as basic black pens, paint, paper scraps, and magazines. In my studio I find a use for once useful detritus. My own work gets chopped, cut and scraped into smaller bits only to get re-purposed into new works, repeatedly. Combining old and new, used and unused, these leftovers are built into an underlying system of visual communication. The frequency of unfound solutions sets the stage for future work. The art resides in harmony unbidden.
My art practice relies on four materials: paper, pen, paint, and glue. Traditional artist tools and supplies accompany these, for added expression; brushes, tape, x-acto blades, rulers, ink, scissors, and hand-crafted stencils. The combination of supplies allows me to manipulate a two dimensional world to create my own unique visual expression. Through art I archive a life that is both private and pubic, and generously shared.
By cooperating with myself in continued everyday studio practice I bring forth my childhood – with play, engagement, and tools. I work whether I have ideas or not and whether I want to or not. Capturing my belief system, my art holds the cantankerous snippets of visual information of a dyed-in-the-wool anti-authoritarian. Expecting failure, I remain alive to intuition, potential, and possibilities. Images of thoughts, action, and continuous endeavor are glued into place. Truth is unveiled as I re-draw or re-paint what was already created as a collage.
The consternation I feel about creating art washes away as I find solace in being able to embrace my mistakes and try anew. While working, I can and do allow for a fluid process of making, vandalizing, creating, and repeating, always differently. Continued use of recurring circles, squares, dots, and lines are woven into motifs and patterns of unrestrained containment. The juxtaposition of patterns on objects becomes a hieroglyphic self-portrait. I record, represent, distort, fragment, distill, celebrate, challenge and evaluate – blurring the boundaries between drawing and painting, as well as art and life.