My work sometimes reads more as narrative, and other times as more abstract. In my paintings I see colors, lines, shapes and forms as metaphors for people, feelings, emotions and actions: the suspended moments of lives. By depicting the suspension of time and decision-making, and the potentiality of two things becoming entangled, I am interested in what inhabits this suspended place. Does potential exist in this place? What emotions exist? What can we learn from suspending a moment in time, zooming in and contemplating it?

 

On canvas and wood, I anthropomorphize abstract shapes and colors. I layer multiple picture planes, dualities, maskings, bulbous figurations, and patterns. I see them as “beings” with emotions and multi-layered histories. The intuitive and instinctive process in which I create my work-layer paint, repeat shapes, hide and reveal, abstract, question, fret, doubt, and hope-reflect exactly what happens in human interactions.

The resurfacing of multiple elements of applied paint, such as color palette, grids and repetitive forms visually represent the repetitive nature of decision-making and narrative within people and the immeasurable number of moments that we engage with our own faulty projections, fear, anger, empathy, dishonesty, fragility, callousness and expectation.

 

Some decisions are very calculated, organized and habitual, like the gridded line. Some are brilliantly pink or all kinds of glossy emotion. Some are muted moments of small intimacies or slivers of joy that peek around a dark corner. When these human experiences accumulate, days blur into years of micro moments, feelings stack and reactions compound. They repeat and multiply, entangling to create a habitat, the whole of a human life, a painting, my sculpture.