Artist's Statement

I'm interested in that point where the illusion breaks down.

I'm interested in exploring the third dimension of printing and painting.

I'm interested in not making overtly political critiques.

I'm interested in not making my work too personal.

I'm interested in limiting the vocabulary of my work.

I'm interested in the chemical and physical properties of materials I have used.

I'm interested in the freedom found in working under certain conventions.

I'm interested in pushing the viewer into participation.

I'm interested in the influence of gravity on a surface.

I'm interested in bold color, like the 1970 VW Beetle Clementine Orange.

I'm interested in editing.

I'm interested in plastic-like surfaces.

I'm interested in paintings made of something else besides paint.

I'm interested in stacked books.

I'm interested in how objects alter the space around them.

I'm interested in how space alters the objects it surrounds.

I'm interested in making questions.

I'm interested in answers that are both true and false.

I'm interested in holes that have no purpose.

I'm interested in the endless possibilities of composing.

I'm interested in things people can describe as jello-like.

I'm interested in the study of sloppy craft.

I'm interested in the villages and temples of Northern Laos.

I'm interested in capturing fragments.

I'm interested in the shadow image left when old framed pictures are taken off the wall.

I'm interested in joy.

I'm interested in things that are "nothing".

I'm interested in nameless objects.

I'm interested in how it's possible to get stuck on basic problems.

I'm interested in the large, ambiguous space that inhabits the center of my work.

Essentially, the artist's statement is defined by a declaration of what is interesting to the artist. The conglomerate of the artist's interests is a way to see how the artist's mind works. Each sentence of interest mirrors an aspect revealed in the artist's work. As with my work, I hope to make my artist' statement as tangible as possible and steer away from the speculative and the hypothetical. I seek to invoke empathy in my work. I try to make the work as beautiful and as physically present as possible. If I successfully create an "open" object, the viewer will be nudged into participation.