Constructed Studio
In late 2013, I reorganized my studio into physically separate zones and began treating each as an independent painting environment. Each space was assigned a distinct set of constraints, references, and working methods, and was inhabited by a corresponding “persona”: a constructed authorial position with its own visual language and internal logic.
Rather than developing a single, unified body of work, the project unfolded as a distributed system of parallel practices. The personas functioned as containers or placeholders for divergent approaches, allowing conflicting tendencies within the work to be separated, intensified, and tested under controlled conditions.
Over time, the studio architecture expanded, contracted, and recombined. Some trajectories developed depth; others stalled or dissolved. What initially appeared as stylistic divergence gradually revealed itself as an inquiry into recursion, influence, and the instability of a unified artistic voice.
The work moved less toward resolution than toward mapping—testing how these parallel investigations intersect, compete, and occasionally fold back into one another.
In late 2013, I reorganized my studio into physically separate zones and began treating each as an independent painting environment. Each space was assigned a distinct set of constraints, references, and working methods, and was inhabited by a corresponding “persona”: a constructed authorial position with its own visual language and internal logic.
Rather than developing a single, unified body of work, the project unfolded as a distributed system of parallel practices. The personas functioned as containers or placeholders for divergent approaches, allowing conflicting tendencies within the work to be separated, intensified, and tested under controlled conditions.
Over time, the studio architecture expanded, contracted, and recombined. Some trajectories developed depth; others stalled or dissolved. What initially appeared as stylistic divergence gradually revealed itself as an inquiry into recursion, influence, and the instability of a unified artistic voice.
The work moved less toward resolution than toward mapping—testing how these parallel investigations intersect, compete, and occasionally fold back into one another.
