The practice of image making allows me to explore the disintegration of our environment and its potential for catalyzing the collapse of industrial civilization and the ecosphere. The subject matter is a compilation of found degraded sites particularly those of shared public resources such as dump fields, crumbling infrastructures, and polluted sites, which I synthesize with my own graphic work in a struggle to expand an understanding of what is actually materializing within the biosphere today.
My practice becomes a site for research, meditation, and dissemination, as well as a lab for exploring the resonance of form. It increases the tensions of surface dynamics through a process of experimentation with a variety of mixed media. The multilayered “surface film” is often unstable, and is left open to unpredictable possibilities. As a result, the subject is endlessly erased by the buildup of material and the application of new mark making.
I often think of the surface as a “permeable layer” embedded with visual information and spatial ambiguity. Thus, it becomes a web of complex and conscious traces which integrate with unconscious emergent dynamics throughout the development of the artwork. As Marlene Dumas has put it, “No painting can exist without the tension of what it figures and what it concretely consists of — the pleasure of what it could mean and the pain of what it’s not.”
The process of painting and drawing enables me to explore areas of perception outside my immediate experience, while conceptually expanding my connection to surrounding environmental issues.