Emerging from a place of pixelated edges,
backlit, wire framed spaces and undigestible
amounts of information, my work engages with
the resistance of an impenetrable surface.
The formal structure of digital space, peculiar
landscapes, theoretical environments and
conceptual spaces of video games and operating
systems provide me with an access point to visual
architectures unique to my digitally enmeshed moment in history.
Those visual elements coalesce into an experience that
approximates painting. With them, a unique vocabulary
and an identity of mark making, pictorial space, and
formal relationships materializes. The logical
structure of landscape resonates with me and I react
in accordance with and against the instinctive
impulse to arrange according to traditional spatial models.
Confronting the expectations of logic and order,
the familiar is interrupted. The latent potential
of marks are rendered active, expressing moments
of extreme amplitudes nested between the lowest
of possible frequencies. It is here, in the lows,
where possibility is inverted and compounded,
stultified, broken down and without resignation, transformed.
These peculiarities are of a moment within the
expansive history of painting. I position myself
from this vantage point as a reflective surface,
a relay of sorts, internalizing and expressing
outward a very particular and quirky understanding
of where painting has been, has not been, and still may go.