Everything I make emerges conceptually from the structural elements of a painting: stretcher, canvas, pigment. This is the foundation on which I built my studio practice years ago as a conventional painter who found more meaning in materials than pictures. Working within this framework has allowed my process to be open-ended, provisional, indeterminate, and often eccentric, breaching the conventional infrastructure of “Art” both formally and institutionally, and generating a new understanding of what art can be.
This dynamic process moves me toward work that encourages meaningful connections across economic and social boundaries by highlighting aspects of visual culture typically considered uncultivated. My projects include panels pigmented with furniture lacquer that come flat-packed to one’s home for DIY assembly (instructions not included); contemplative color panels I commissioned from an auto body worker; rag rugs that display wage gap infographics; paintings that function as visual palette cleansers; and most recently, tufted and wearable textiles that suggest the radical cultural impact of fashion. Underpinning all of it is the idea that visual and tactile interactions can shape experiences in daily life.