The normative parameter of disassociation and distraction is at the heart of our consumption and our over-romanticization of nature. It is only through re-investing in our relationship, through rational investigation and emotional connection that we may see what is really before us.
The segmentation and assimilation of digital media, screen printing and oil paint reiterate our fragmentary experience of the landscape by abstracting storms over architectural floor plans and CAD drawings. The oil laden brush is the force of chaos, power, beauty and imperative movement on canvas. It is indexical Time, erasure and materiality. The architectural plans have a vestigial fragility that is almost nostalgic yet emotionally empty. Their human design connotes a degree of optimism, studied learning, fallible pride, and sheltered necessity. The manipulated landscape is a place of dislocation, a non-place of meditation and contemplation of our perceived environment. Strait lines, angles and grids are subsumed by gesture, color and energy. The storm stops the mind, if only briefly.
I am reassured by my own insignificance. The interplay, the power-play of opposing forces are symbolic of my day to day experience of dislocation and connection. Juxtaposing semiotics of the internal and external experience of perception, I let impulse and reasoning play across the flat white of the canvas, the presupposed symbol of emptiness where I fumble with the concrete, abstract, small, immense. These works are a blind extension of my limited senses into the tenuousness of existence.