When I stretched a canvas for the first time, I knew that I was an artist. I began drawing and painting a little over five years ago; my first instructor taught me the limitless possibilities of creation. “Execution and emotional state,” he told me, “paintings are like snowflakes.” Since the beginning of my exploration of paint, every canvas that I have made contains an experiment of color, composition, and light. As my work has proliferated, I am able to see that I am moving toward the marriage of idealism and grunge. I want my viewers to feel comfortable through my color scheme and composition, but uncomfortable at an insinuated tension of subject or texture. Irony plays a large role in my decision making process throughout the creation of a painting.
I try to make art that is easy to read, but provocative in a way that forces the viewer to consider their own views of whatever they see.
As a part of giving the viewer a change in their experience of perception, I tell them that their world and everything in it is limited. What then is the value of pleasure and pain? When our experiences and emotions are fleeting, does that not make them precious?
Dualities or ironies also play a large role in the process of my work. Colors that are the furthest from each other on the color wheel are the ones that I force together. I mix oil and water based materials together before I apply them to a canvas. Even the canvas itself is organized in a way that brings together associations of how a subject is viewed usually, and then how I have changed the way it is viewed. Everyone takes a different message from the same unchanging source.