My work straddles the line between site-specific installation, drawing, and painting. My pieces engage perceptual, painterly, and physical space in ways influenced by concepts of virtual reality and the Baroque, where multiple spatial models that have been folded and spliced into one another coexist in harmony. Into these hyperspaces I re-introduce elements of Baroque excess and theatricality, such as intense color and visual cues that break the two-dimensional plane. My approach towards creating painterly space is intimately connected with the viewer's ability to activate that space, which includes not only the flat surfaces of the painted elements, but the entire architectural space in which the piece resides. The viewer is encouraged to interact with the work in unconventional ways: movement, changes in distance, and shifts in sight-line are rewarded. In a manner reminiscent of Baroque illusionism, multiple privileged viewing spots are created where the work settles into predetermined perceptual configurations. These paintings do not sit still; instead, they exist within a responsive matrix that rejects a traditional, more fixed engagement with the idea of the painted object.
My pieces begin as intricate architectural drawings created on the computer. The original source material comes from mediated depictions of theoretical architecture that can be classified as "non-places": 3-D internet chat rooms, videogame-scapes, and airports. I am interested in how these theoretical constructions of space, created by our experience with digital environments and as artifacts of the Supermodern, unfold themselves, existing as something mutable, even responsive. Painting has always dealt with the politics of space: exploring it, defining it, rejecting it. With perceptual shifts created by our technological age, it makes sense that these questions of space can be re-explored and re-defined within the context of painting, even if painting finds itself inexorably changed in the process.
For the large-scale installations, the source architectural drawings are further layered and manipulated on the computer using digital design programs, scaled up, broken into modular pieces, redrawn on sheets of PVC, and painted with ultra-glossy acrylic paints. The same drawings are also used on a much smaller scale, printed on watercolor paper, painted with acrylic and gouache, and collaged onto panels that have been painted with enamel house paint. I consider these drawings to be a language in and of themselves, used universally throughout my work, and I exploit the mutability of the original vector graphics to make them function at such extreme scales. I have also begun to push their variable nature even further, exploring these drawings in time-based form by using them as the basis for abstract animations.
My predominantly modular construction methods allow me to reconfigure the work in situ as it is installed, whether that involves placing PVC sections onto the wall, or placing collaged paper onto panel. Some works investigate the relationship of the traditional painterly window (perhaps, in the case, a screen) with installation elements that have escaped their boundaries, creating a conversation between form, boundary, and space.
My work is also strongly process-based, with the drawings and other elements often cycling through multiple iterations before settling into their final state. Sections of the work are traced or copied manually multiple times, resulting in an obvious indication of the artist's hand in what would otherwise be a strongly mechanical work. This approach also causes the pieces to change in yet another way for the viewer: from far away, the pieces seem rigid and architectural, yet from close up, there is a delicate modulation between each iteration of a line and a relaxing of the edge within the painted sections, giving the work a feeling of symbiosis, rather than fixed structure. I intend for these works to have both a machine and human aesthetic, becoming a cyborg creation of sorts that is not just a formal exploration of spatial concepts, but the organic progeny of them – an evolution of form, responding to the computer, myself, and its surroundings.