Paint is, for me, an ointment, which I use to mediate the space between sets of potentially oppositional considerations, like body and imagination, or past and present.
My practice is built around process; mark making, repetition, accumulation, erasure and the viscosity of the paint itself. I’m also concerned with my physical relationship to paint, including the motions inherent in the process of mark making, and the many references this mark making makes towards writing and reading.
As the mark making becomes deconstructed into lines, language is referenced but the meaning is left unclear. This circles around the idea of asemic writing, which utilizes the formal elements and structure of written language. In my current work, meanings emerge, repeat, and then forget themselves back into the paint. There is a melding here, between the meaning-making activity in the brain and the visceral sensations in the body.
The practice of laying down multiple layers of media, drawing between and on the layers, and repeating the procedure, makes physical the thought process itself, as the paint glues ideas and experiences together. This tension between decipherment and embodiment informs and inspires my inquiry.
My current work speaks to information overload, organizing and compartmentalizing said information and making sense of chaos through visual linguistics.
Santa Fe, NM