Chance is an important component of creation. I embrace processes which accommodate spontaneity, accident and conflict. I recognize that all artists are multidimensional, and that we will go through phases where we work in distilled, capillaric ways and at other times are rhizomatic. I am drawn to the extremes ofspectrums within painting, to use the medium to its strengths and take it to places it doesn't want to go, be it abstract or figurative.
Painting is the mirror and agent of metamorphosis. To me, any resonance beneath the surface of a painting is naturally autobiographical and articulated in a series of choices. I also believe that the artist’s psyche is always ahead of the consciousness and that my most honest paintings aren’t afraid to show my vulnerabilities alongside my strengths. The anxiety this results in is what I tap into to synthesize into potency and use to overcome the inertia of the blank surface.
I am driven by that which is always slightly out of reach. Everything that I've painted has always been fueled by an ironic vacillation between misgivings of technical inadequacy and a certainty that I have the will to power through with what I have at my disposal.
Recently, what has become most poignant to me is the need to lose self-created barriers between introversion and extroversion, self-consciousness and self-awareness, fast and slow thinking. I paint what I walk into within my life and believe that no subject matter should be taboo if there is a genuine fascination for it. I subscribe to the metaphor of harmony and dissonance; harmony aspires to the divine but could be authoritarian, while dissonance can be unnerving while it celebrates the grit of humanity. Underneath these dualities, art is always optimistic in opposing adamant logic and that one can behold the universe by going within.