In my current body of work I work with the idea of excess. I create images pushed to the point at which excess becomes meaningless and falls into the realm of pattern. This idea of gluttony is reflected in our current culture. We are a hedonistic society, always looking for more until the more we are looking for loses its meaning. I find inspiration in physical action, indulging in pleasure and pain, overloading myself and pushing my body, searching for its limit.
Research, reading and exploration are vital to my studio practice, consistently driving my work forward. I continuously seek and study epic narratives, creating my own for each work. The most recent manifestation of this interest in excess and epic narratives is my attraction to images of natural disasters. I am riveted by destruction and our culture’s fascination with the apocalypse. Epic devastation is constantly in our field of vision, documented and dramatized in the media and Hollywood. Our own obsession with the end of the world has permeated our psyche. Continuous curiosity about the end has driven me to research different cultures’ visions of Armageddon. I am intrigued by ancient civilizations’ predictions of our future. I use images of these natural disasters, as seen through our news and pop culture, to document the signs they foretold. Often, their idea of the end of the world was not a negative, only an awakening and a change of consciousness. I will work through these images until I can develop my own predictions of the end.
My studio practice has consistently been large-scale oil paintings though I have begun to work directly on the wall exploring painting as installation. The dimension of my work relates to the size of the human body and the potential for painting to physically overwhelm the viewer. I work directly on the wall as I experiment closely with the architecture making paintings that engage floor to ceiling.