As a still life painter, I am interested in the visual and communicative potential of objects that are cast-off, discarded, and over-looked. Inherent to the genre is an engagement with the mundane, domestic, and every-day, as well as the notion of an arrested perceptual experience. These subjects, and the process of working directly from life, are rich with pictorial and conceptual possibilities.
I work in a responsive manner directly from the motif. The still life arrangement is both anchor and springboard, a point of reference as well as a point of departure that stimulates critical, design-based thinking. I react to the motif through the painting process, registering small variations and adjustments in color, tone, proportion, relative placement, and spatial orientation. The accumulation of these slow and incremental changes produces a refinement of form and an articulation of space built upon extended observation. I am concerned with the challenge of translating visual information into paintings that speak of their own making, constructing a work that is both image and object.
At the core of my practice is a curiosity to uncover and reconstruct a kind of order. I discern relationships within the motif, then arrange and refine these same relationships within the painting. Occasionally observations from multiple vantage points are registered, developing a space that is concrete yet shifting, both stable and unbalanced, pinned-down but transitory. This is a mapping process, a charting of spatial proximity, and an embrace of the slippage that occurs with observational work. It is also a way to complicate, abstract, and ultimately confound my relationship to the forms with which I am engaged. Resolution is less a matter of finish or accuracy, and more of a resting place between becoming and disintegrating, coalescence and fragmentation.