Over the past few years I have created a body of work that explores the duality in our perception of the world, being a human being, knowing that our experience of the world is limited.
My interest is in the body, the sensory process, our death, the cycle of life and the mythology we attach to our existence.
In my practice I create chimerical hybrid monsters suspended in fantastical language landscapes to measure the distance and tension between clinical, spiritual and personal spaces. Seductive and menacing, the paintings reveal themselves slowly, immersing the viewer into a web of subjectives, moments of re-organization between human and machine.
Fusing mythology, mathematics and cellular biology, I use a visual language seeking to render in form that which is inherently intangible, what it means to be human.
My process is methodical. From the concept to the execution, each piece evolves over several months. I research what is going into the work before I even start to paint, beginning with the biological structure of the piece, along with the narrative and the most appropriate use of color.
The importance of relationships and how the viewer will engage with the work and find their way into and through it is also part of my preparations. Taking and noticing time is a central component; a moment is captured and yet the work within the painting continues to move.
I find that by using layering and translucency, this movement back and forth though time and space contributes to the painting’s complex unity. These works are hypnotic, obsessive and hard to define. They are both macro and microcosmic in nature. Employing concepts of space and time allows for exploration into our place in the universe and how it harmonizes with what it means to be human.
My drawings fuse cellular structure, microorganisms and technology, creating fantastical and often disconcerting hybrid life forms that explore the fragility of humankind and the mythology we attach to our existence.