I create situations where transformation is possible, transformation as a way of probing, moving, and thinking about the world. I want the work to be matter-of-fact and obvious, yet mysterious, lost, fleeting.
I set parameters (formal, perceptual, psychological) that are distinct and clear. Then it is all open-ended improvisations and challenges that define and shape the work. The drawings embody the idea of infinite potential and variation.
I most often use fragments, accidents, mistakes, unexpected juxtapositions, small stuff as a basis for constructing my work. This ephemera is amplified and developed by sketching, scanning, doubling, multiplying, layering, turning inside out, distilling, until the result becomes an image, an idea, an entity with a life of its own.
Color is a way to separate from context. Bright, non-natural color is immediately is out of place, an aberration, extraordinary. It permeates the whole room, enters the senses, and gets on your skin. You can taste it. It makes an impression that is hard to shake.
Working with and reacting to the feel, elasticity, and resistance of a material, it was drawn necessarily and purposely myopic, with quick, intuitive decisions following a simple design premise. I have some sense of where Im going, but I have to surrender to the reality of not being able to fully know how these decisions affect and relate to the whole. This sense that there are two possible ways of creating, perceiving, interacting with the drawing, as a whole and in selected moments, for the viewer, and myself is what I consistently find fascinating.
Performances are attempts to simultaneously to engage and disengage, to be present and alone in plain view. Physical distance, a prop, and/or a costume separate the nonsensical action and myself from the viewer.