THEY SAY HOPE FLOATS, BUT I'D RATHER BE SURE, [2017 - ongoing]
My latest body of work examines how a painter copes with a rapidly changing cultural and environmental landscape. Using experimental techniques that blur the line between painting and sculpture, passive and active object, cultural artifact and survival tool, I work to examine this moment in time through the lens of art history, rising social pressures, and pseudo-disaster preparedness. My process is intentionally low-tech and jerry-rigged, indicative of how the majority of the world will haphazardly be forced to adapt. In weaving, sewing, painting, dying, and salvaging materials, the studio becomes part wistful shrine, part research and development lab for continuous adaptations and augmentations needed for painting to survive.
30"x40" PAINTINGS – (Dipytch) The Auroras (Aurora Borealis & Aurora Australis)
The Auroras diptych was inspired by the seminal 1865 Aurora Borealis painting by Frederic Edwin Church. Painted while the Civil War was ravaging our nation, the spectacle of Auroras were commonly understood to be a visual sign of God’s displeasure with the war.
30"x40" PAINTINGS – Fragonard Visits
The Fragonard Visits paintings were inspired by Jean Honore Fragonard’s renowned L’Escarpolette (English: The Swing), created in 1767 during the Rococo movement in France. This style, very popular in the few decades leading up to the the French Revolution, was characterized by a pastel palette and a focus on the playful, decadent, and frivolous by a governing aristocracy who were intently ignoring the warning signs of a system out of balance.