A long exhale, a prolonged glance that shifts out of focus, thoughts of then, now, if, and when.
How is it exactly that we perceive? In my paintings, I question how the mind works: how one can
experience the space they occupy while simultaneously visualizing a memory or idea. How do the past,present, and future intersect? Is the way we process information today overloaded, and do we need to be distracted?
Since the rise of digital technology, humans have been bombarded by information. What was
once a passing glance at a newsstand or short phone call to a friend has now become an endless log of scrolling. Humans have less control of what they consume and many are addicted to this retrieval of stimulated words and imagery. Unpacking how this modern way of living is affecting our psyche and reorienting the overlooked qualities of daily life is fundamental to my process. Painting allows me to
distill imagery and slowly process the sensations of memory and feeling. Gathering imagery that reflects these ideas is seemingly random, but I consider the location, time, event or mood of each image and what narratives they tell together.
Capturing and curating my ideas starts with a camera: the photos are deconstructed through a
screen, reformed into gestural colors of memory, and reframed into the viewer’s perspective. I draw
from my own experiences but the process of merging and layering images creates an abstraction that allows others to enter through an open-ended narrative. My interest in abstraction has developed from my research in natural distortive phenomena and how it relates to our working brain. How does light
affect how we feel? Additional research into perspective, objects and their influence on 3 memories has underlined my process. With these elements in mind, I warp everyday scenery and objects to simulate the surreal sensations of the brain while also exploring elements of motion and time through gesture. Levels of clarity and confusion are explored within the materiality of the oil paint, bringing more significant things into focus.
I work in many layers, often thin, with slight variations in color across the surface. The paint is
lightly stippled or smooth like liquid, barely existing on the surface, in the same way that memories and thoughts bleed in and out. Up close, the subtle shifts in color and texture can appear without distinction, and perhaps causes the viewer to yearn for more, just like refreshing a page, asking for more stimulation. This sensitivity of the gestural hand counterbalances the digital world and the intangible thought process: the imagery is mostly visible but it is not actually present. What is real and what is not?
Unravelling how contemporary society can sometimes feel desolate despite the overwhelming
amount of information surrounding us is my central focus. I look for the things that connect us even when we are alone, as how we navigate mental health today is imperative to our future.