Some Poetry:

This playful sugar
be it simple syrup or sexual
silly rabbit, trix are for kids.
The raw, decadent, ugly, awkward
fierce mother-thy-fucker.
Cleopatra, Aphrodite, Pandora's box upon bowels of bliss.
Somewhere outside the perimeter, in the midst of the pandemonium, is a fragile evolution
the fragility that binds & the paradox of the sublime.

Some Statement & Thoughts:

Advancing within a disorientation of time, place/space, and person, my work builds upon an expansion of identity or it's constitutes. For me, this is pulling the traditional language of painting inside out to expand it to also include the contemporary 4th dimension of time passage/ motion, as if weaving and warping together those opposing languages, traditional and contemporary, and having a constant flux between them. Henri Bergson's sense of "lived time" is a prominent influence as "the experience in which past and future merge into a continual present". Current examples in art documenting movement consist primarily of film/ video; I'm trying to correlate movement/ time passage without the hygienic manipulation of a machine; I don't want the machine to do the work for me. I am fascinated by chaos and the unpredictability inherent in a system such as weather, "in which random changes occur as a result of the system's extreme sensitivity to small differences in initial conditions." The ideals of polarity are expressed by the female and male aspects in my work which often play out a catalyst for me to generate variables from fragile to crude impulses that layer levels important in the expansion & elasticity of motion/ time passage.

As "the age of eternal opposition is over", per Hanno Rauterberg, I find the impetus set by the extensive work and dialogue in contemporary art arousing a sense of reclamation. I see my work expanding painting beyond its classical illusion and expressionist base into the inspiration I perceive to be captured in video work, an aspect of recycling and merging the plethora. This proposes possibilities of redefining the legacy to reveal an essence of what is already there instead of making it new and serviceable, framed and facilitated.

As the world has sped up drastically in an output of questions and provocation, I slowed down in a long progression to understand the details around my reality, to slowly see patterns and correlations. My wondering and accidental activities for the last 13 years began when I was 8 years old to the Yellowstone National Park ecosystem. I returned again for extended visits to the raw environment with no desire to imitate, but to translate those fundamental movements, gave me an important departure point. This direct observation has been indispensable to identify these ambiguous relationships. Similar has been my experience for the last 6 years returning to Europe by living closely to historical art icons/ techniques and ironically how it fit together with my own ancestry. The apparent disorientations of time and place forced me to integrate information on a nonlinear basis, between my own ancestral & homogeneous Americaness, what became an ever-expanding, fluid sense of identity.