Current Artist Statement
Current Artist Statement
I seek to create playfully intelligent work. I view my workings as visual experiments that deal heavily with my own identity, humanity’s place in the Kosmos, and with ideas of faith colliding with ideas of the contemporary world.
My ideas and influences are often in a state of plasticity and can be hard to pin down. However, I feel that my art can be distilled into its elemental qualities. These are, namely, the ideas in my art that are inherently political (or potentially polemical as I seek for art’s moral purpose), purely conceptual (as I view my art as idea first and foremost), and ultimately aesthetic (as I seek to bring a subjective experience of beauty to interact with the viewer). I am interested in art as a language, and my work pushes the boundaries of interpretation in order to bridge a communication barrier that exists between “high” and “low” (as if there were such a thing).
The central purpose behind all the thematic threads in the chaotic tapestry of my body of work is the connection between my faith and my art. As a follower of Jesus Christ, I feel that my artwork has a certain level of fervent, necessary, and complicated worship of my own Creator.
I am at currently steeping in a body of work that represents the most experimental form of painting that I have ever undertaken. Normally, I undertake a specific theme with a primarily conceptual approach to each work. At present, I am working on a series that explores the home structure, and I am doing so with an emphasis on how the thematic and conceptual elements will react with the materials with which I choose to work. I am repetitively asking (in various iterations): What is a home? Is it a place, a person, an idea, an eternity? How fragile is that thing?
The series has been expanded across several mediums. To me, the relationship to my materials is key. Materiality and its place in a contemporary context are making frequent appearances in this body of work. For example, I take a “low art” material like a cardboard box and attempt to transform it into a contemporary painting- something to be taken as seriously in a gallery setting as any other work.
Several of the paintings and sculptures (if you want to label them as such, these distinctions mean nothing to me) have so far expanded that they can be interchangeable. I have shown many of the pieces in this body of work in local galleries, and the watercolour painting “Abide” (2014) was recently published as the cover of a north Texas journal.
I seek to create playfully intelligent work. I view my workings as visual experiments that deal heavily with my own identity, humanity’s place in the Kosmos, and with ideas of faith colliding with ideas of the contemporary world.
My ideas and influences are often in a state of plasticity and can be hard to pin down. However, I feel that my art can be distilled into its elemental qualities. These are, namely, the ideas in my art that are inherently political (or potentially polemical as I seek for art’s moral purpose), purely conceptual (as I view my art as idea first and foremost), and ultimately aesthetic (as I seek to bring a subjective experience of beauty to interact with the viewer). I am interested in art as a language, and my work pushes the boundaries of interpretation in order to bridge a communication barrier that exists between “high” and “low” (as if there were such a thing).
The central purpose behind all the thematic threads in the chaotic tapestry of my body of work is the connection between my faith and my art. As a follower of Jesus Christ, I feel that my artwork has a certain level of fervent, necessary, and complicated worship of my own Creator.
I am at currently steeping in a body of work that represents the most experimental form of painting that I have ever undertaken. Normally, I undertake a specific theme with a primarily conceptual approach to each work. At present, I am working on a series that explores the home structure, and I am doing so with an emphasis on how the thematic and conceptual elements will react with the materials with which I choose to work. I am repetitively asking (in various iterations): What is a home? Is it a place, a person, an idea, an eternity? How fragile is that thing?
The series has been expanded across several mediums. To me, the relationship to my materials is key. Materiality and its place in a contemporary context are making frequent appearances in this body of work. For example, I take a “low art” material like a cardboard box and attempt to transform it into a contemporary painting- something to be taken as seriously in a gallery setting as any other work.
Several of the paintings and sculptures (if you want to label them as such, these distinctions mean nothing to me) have so far expanded that they can be interchangeable. I have shown many of the pieces in this body of work in local galleries, and the watercolour painting “Abide” (2014) was recently published as the cover of a north Texas journal.