My work exists primarily as models of how I operate, the content being the very process of what I do to paint. I am interested in the transparency of this process, in the visceral transformation of act into material. This is often reached in my work through the pouring, cutting, or removal of paint, placing emphasis not only on how we perceive issues of structure, surface, construction, and appearance, but also how those perceptions allow us to delineate the value and degree of reality.
Process, as a methodology and concept, is very central to my work. Often I think of process as ritual, an activity where the meaning is more than the sum of the independent actions. Ritual connects our body, or our position, with our actions, reaffirming the human condition and re-contextualizing it in regards to the sacred. Similarly, process can be described as a form of play, or experimentation, existing as a way to better develop an understanding of ourselves and our surroundings.
I am interested in creating a non-objective surrealism, something familiar that does not attempt to simulate reality – something unusual that appears to be unaware of its lack of explanation – something which exists without being reduced into its mere information, known and ignorable. I want my work to exist in this comfortably unfamiliar territory, to spur imagination and consideration, only to leave the viewer with the realization that the work is simply, and only, paint.
Currently, I am working at creating objects which rub up against the edge of literal content, that become part of a phenomenological reality, at once observable as fact or occurrence, while still remaining extraordinary, apparitions constructed by the mind and its biological and cultural conceptions. Along this line, I think a great deal about how my work reflects upon its own material and processes, its relationship to natural materials and processes, and its relationship to contemporary painting and process art.