This ongoing body of work focuses on the aftermath of both man made and natural disasters. I have appropriated many of these photographic sources from Google image searches and taken images on location myself. I archive, then digitally collage the photographs in preparation for the paintings. I situate these images somewhere in between abstraction and representation in order to create a dialogue with modernist painting through postmodern practice. I draw and paint these images not only to further slow them down, but to also support traditional notions of the â€œsublime landscape,â€ one that is uncontrollably vast and frightening, within a contemporary context of anxiety and fear. I am both drawn to these images and repelled by them. They speak of a time where agenda setting, political rhetoric and consumption are perpetuated and often manufactured by the media. As mass media sets the psychological and emotional tone for life as we know it, I work in an attempt to differentiate neurosis from my own understanding of reality.
ABMASTERS aka Abstract Masterworks series
This series of paintings relates to my interest in dichotomies: obscuring and revealing, attraction and repulsion, good and evil, the past and the present. I appropriate imagery from a variety of sources in order to develop a pastiche that fractures the conventional male gaze and positions art historical models as both subject and spectacle. I choose to dismantle epic narratives from the past to create a schizophrenic perspective. The images break from their original sources into fragments, creating a complex visual experience that both irritates and seduces.
The romantic process of painting allows me to meditate on issues of gender, identity construction and beauty. Though the paintings are initially conceived of using digital processes, they are made employing traditional techniques borrowed from the old masters. In doing so, I endeavor to uphold these painting processes while dismantling the elitism with which they are often associated.
Conventional wisdom is such that the female body has been the primary object of desire. These paintings serve to provide a context in which the male form elicits complex pleasure. The male nude in history is a topic that has enjoyed devoted interest and suffered abhorrent fear. Through this work I seek to question notions of the body politic and investigate representations of a â€œre-genderedâ€ sexuality. This series of paintings relates to an interest in dichotomies- hiding and revealing, attraction and repulsion, good and evil, the past and the present. I have appropriated imagery from a variety of sources in order to develop a pastiche that reverses the gaze into a feminine one, positioning the male figure as both subject and spectacle. The paintings are created using techniques borrowed from the old masters, evocative of a time luxuriant in earthly pleasures and simultaneously, heavy with moral burden.