The earlier paintings are preoccupied with abjection. Please refer to my artist statement for more information. Recently, my focus has shifted in favor of more whimsy and less doom.
Inspired by Julia Kristeva's definition of abjection as our "reaction to a threatened breakdown in meaning, caused by the loss of a distinction between subject and object or between self and other*," my paintings investigate a collapse in distinction between opposing forces. Through the abstraction of multiple image sources, I interpret simultaneous fascination and disgust, and ambiguity and recognition. It is in moments of disgust, fascination, and confusion that we become more aware of our own material existence. This experience is a moment of authenticity in a culture increasingly removed from many forms of physical interaction. Within this body of work, I negotiate a spectrum of formal distortion, relating as much to representation as to gestural painting. It is important that the paintings are in constant flux between image as illusion and image as medium. My intention is to create paintings that become a middle ground between the physical world and the psyche, by shaping a location where audiences are confronted with a breakdown of dichotomous systems. The constant flux of visual information within each paintings encompasses viewers in scenes that feel both massive and vulnerable to self-destruction. The experience integrates audiences into a parasitic body of growth and deterioration, reflecting co-dependent relationships that exist in nature and personal identity.
*Kristeva, Julia, and Leon S. Roudiez. Powers of Horror: An Essay on Abjection. New York: Columbia UP, 1982. Print.