Recent Work, 2025-26
My recent work explores how paintings emerge, not through predetermined intentions alone, but through a material and symbolic encounter. Artist and image respond to one another, opening possibilities that did not exist until they were unfolded through the process of making. This has led me to return to past images repeatedly, investigating how pairs or groups of works can enhance, complement, and destabilize one another at the same time.
Transparent media allows the paintings to incorporate shadow, reflection, and wall space, while cutouts, overlays, and physical extensions allow them to move outward into the space around them. I’m interested in how viewers experience these groups of repetitive yet destabilized paintings. Sometimes they may be similar enough that a second encounter feels like a stutter or time delay. In others, the images break down, transform, or mutate, becoming an entirely different kind of thing.
My recent work explores how paintings emerge, not through predetermined intentions alone, but through a material and symbolic encounter. Artist and image respond to one another, opening possibilities that did not exist until they were unfolded through the process of making. This has led me to return to past images repeatedly, investigating how pairs or groups of works can enhance, complement, and destabilize one another at the same time.
Transparent media allows the paintings to incorporate shadow, reflection, and wall space, while cutouts, overlays, and physical extensions allow them to move outward into the space around them. I’m interested in how viewers experience these groups of repetitive yet destabilized paintings. Sometimes they may be similar enough that a second encounter feels like a stutter or time delay. In others, the images break down, transform, or mutate, becoming an entirely different kind of thing.
Shifting Contexts (2025)
My earlier painting series often featured studio scenes, museum and galleries, and large-scale constructed spaces. Shifting Contexts is an installation where these systems are folded into the evolving logic of plexiglass painting. The earlier images, known for their spatial ambiguity, fragmentation, and painterly construction, return as sites of disruption and reinhabitation.
Working across reverse plexiglass, cut forms, and installation, the image is no longer contained within a single surface. Instead, elements are distributed across objects, walls, and architectural space, where they intersect with gesture, digital fragments, and process-based marks. The plexiglass operates as a point of interference, introducing transparency, reversal, and layering into previously flat, unified fields.
Brushstrokes, gestures, and paint itself begin to function as figures, moving between image and object, surface and space. Earlier compositional logics are not extended but complicated, folded into new relationships that are unstable, sometimes excessive, and at times bordering on absurd
My earlier painting series often featured studio scenes, museum and galleries, and large-scale constructed spaces. Shifting Contexts is an installation where these systems are folded into the evolving logic of plexiglass painting. The earlier images, known for their spatial ambiguity, fragmentation, and painterly construction, return as sites of disruption and reinhabitation.
Working across reverse plexiglass, cut forms, and installation, the image is no longer contained within a single surface. Instead, elements are distributed across objects, walls, and architectural space, where they intersect with gesture, digital fragments, and process-based marks. The plexiglass operates as a point of interference, introducing transparency, reversal, and layering into previously flat, unified fields.
Brushstrokes, gestures, and paint itself begin to function as figures, moving between image and object, surface and space. Earlier compositional logics are not extended but complicated, folded into new relationships that are unstable, sometimes excessive, and at times bordering on absurd
