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The Nexus of Painting and Fashion.

I use only recycled objects. These used/exploited objects, often signaling or previously worn on the human body, contain traces; of ghosts, panache, fables, declarations, judgements, information buried. My work is an arcing palimpsest—something reused or altered but still bearing visible traces of its earlier form. I am interested in the recycling/reexamination of human narrative; what is passed down in the human trace. 


The work does not follow the traditional expectations of painting. These are unhinged objects.
Paintings that have transitioned. In their use of textile and fashion media, the work embraces an effeminate offering to integrate the beholder.


I first drape and sew, to build up a topography. Gestural painting is then used to reorient, activate, connect, highlight or excavate the transition between things—a meta space. The emphasis is upon the plurality of social and cultural forces that construct a context. These objects, reincarnated as paintings, represent shape-shifters between celebration to demonstration, the mythological to the ontological.

From Dave Hickey, The Invisible Dragon:

As Americans, we are citizens of a large, secular, commercial democracy; we are relentlessly borne forth on the flux of historical change, routinely flung laterally by the exigencies of dreams and commerce. We are bereft of the internalized commonalities of race, culture, language, region, religion that traditionally define "peoples". As such, we are social creatures charged with inventing the conditions of our own sociability out of the fragile resource of our private pleasures and secret desires. So lacking the terms of communication, we CORRELATE. 

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