Zen in Being

Zen in Being


It's been said a picture is worth 1000 words. As an artist, I am always looking to find those words. I make art. Its all I know how to do. For me, life doesn't just imitate art, Life is Art. With or without a canvas, everything is an experience to be explored. Being able to capture awarenesses is how my art is made.

As an artist I have been inspired by a few different schools of art: Abstract artists, like Louise Bourgeois and Robert Ryman, Abstract Expressionists, like Robert Rauschenberg, and Surrealists like Max Ernst. My art is a reflection of myself. It is genetic. My work is biographical, it is the perceptions of the experiences I have had in my life. My paintings are production based “thought- forms”. The visual dialogue I create is a collage of art making practices and ideas that came from the Modern Art era. I have a special affinity for the Surrealist Avant-Garde movement and Abstract Expressionism.

The focus of the biographical encounters or stories I tell is about the connections that layer and filter into our daily interactions. Each piece or thought-form is a single pointed meditation and a greater understanding of a moment. Every greater understanding has its own very unique process.

Crafting memories involves many layers. Simulating these layers through visual communication is the challenge that compels the art-making process. Through the use/ misuse of foreground and background, a stylistic form emerges. The real emphasis of the work is the emotional reality. I convey this through the use of texture. The forms are left open and blank to emphasize a dreamlike and impermanent state. The biomorphic tree people is the surreal aspect. This is very symbolic to me. This image stems from one of the first memories I had as a child.

It is this subject matter and process that inspires and pushes my range of movement and form. The experience of making art is the awareness of the process. The process that unfolds in the transition of concept to canvas is the happening. The “piece” or “art” that is left behind after this transition is the memory of that experience. My work is a reflection of that memory. My goal as an artist is to explore transitional states.

The nature of the materials allows me to fully express what my words cannot. The emphasis of strong tactile elements pushes the background into the foreground. This is where those unsaid words are found. I am investigating the gaps of consciousness that flow between the states of dreaming and waking, thinking and feeling. Inversing the use of space shows the heaviness of our minds.

I want to engage the viewer's senses through a strong use of craft in a unique way. My approach can be thought of as a bastardized recreation of Synesthesia. This is what I call: Tactile Dysfunktions. I project the feelings of awkwardness I live in onto the canvas. The connection between my work and its interaction with the viewer is the commonality of my experiences. The subject matter navigates the response. For instance, we all have within us a sense of longing. It is my goal to create the feeling of togetherness in an isolated world.