In this work you will find: a genuine love of people and an obsessive exploration of two things: social environments and the physical form.
In the early paintings I call "Sweet Meats", I was fascinated with how a person changes as they slip through and between the permeated edges of one social reality into another. The capital I Individual is nonexistent without a context in which to understand itself. Through removing the legibility of environmental cues, I would hint at them instead- asking the viewer to react and understand through only what the subject "chose" to show. These paintings were all created from tableau photographs.
This is an obvious journey through the documented observations of a wide-eyed woman who loves to look. The people painted are my own David Sedaris characters; they are made precious by their vulnerability as they fall asleep on a sidewalk waiting for the bus or fight back laughter that looks like weeping. They are most beloved when their human nature steals the spotlight from whatever environment they are in.
If our subjectivity is objectively intended, and the world is more fully realized when it is recognized for singularity, these individuals are being drawn out for bringing their "world" closer to its goal.
The second Body of work is simply titled "2006" as it is basically a record of the stream-of consciousness my work followed in reaction to a year when my paintings were painfully self-conscious. They are transitional paintings, which surprisingly enough stand on their own in hindsight.
"Wise Blood" was my thesis show, which sorted out the transition.
Flannery O'conner wrote about a character that thought his blood whispered to him, rhythmically unearthing the answers to life for his ears only. I love this character for his nepotism, his narcissism, and his faith. I love this idea, because if you listen, you can hear yours whispering too.
In the early paintings I call "Sweet Meats", I was fascinated with how a person changes as they slip through and between the permeated edges of one social reality into another. The capital I Individual is nonexistent without a context in which to understand itself. Through removing the legibility of environmental cues, I would hint at them instead- asking the viewer to react and understand through only what the subject "chose" to show. These paintings were all created from tableau photographs.
This is an obvious journey through the documented observations of a wide-eyed woman who loves to look. The people painted are my own David Sedaris characters; they are made precious by their vulnerability as they fall asleep on a sidewalk waiting for the bus or fight back laughter that looks like weeping. They are most beloved when their human nature steals the spotlight from whatever environment they are in.
If our subjectivity is objectively intended, and the world is more fully realized when it is recognized for singularity, these individuals are being drawn out for bringing their "world" closer to its goal.
The second Body of work is simply titled "2006" as it is basically a record of the stream-of consciousness my work followed in reaction to a year when my paintings were painfully self-conscious. They are transitional paintings, which surprisingly enough stand on their own in hindsight.
"Wise Blood" was my thesis show, which sorted out the transition.
Flannery O'conner wrote about a character that thought his blood whispered to him, rhythmically unearthing the answers to life for his ears only. I love this character for his nepotism, his narcissism, and his faith. I love this idea, because if you listen, you can hear yours whispering too.
