the order of things matter;
they have a place in the past,
solidly exist in the present
and their future is dictated by these two, tense and vibrating with possibility.
I look at my creative process as a means to sort through past and present observations and experiences. In the past I was very attached to notions of concealment and I would say I am still very protective of the true, underlying nature of what drives me to create at all - what drives my work forward.
What I am currently most concerned with is placing a sense of envisioned environmental importance on recognizable forms, specifically chairs and stairs, that ultimately have an unrecognizable motive. The basic functionality of these forms provide my work with a layer of their own meaning. I tousle these forms in an implied environment that I consider to be more of a psychological landscape referencing memories through frenzied mark-making, color-blocking and (extremely) vague representational studies.
My work arrives through the constant reevaluation of layering visual information - color, line, shape, repetition- which is both unplanned and premeditated. I find a rhythm between intuition and chance that both influence everyday decision-making, which create(d) memories, and my creative process.