My paintings are subtle geometric abstractions that manipulate line, color, and form in order to establish new visual systems. Within these visual systems reside a number of aggregate substructures that at once conform to, and challenge preconceived visual ideals.
By employing a vast number of overlapping grids, I am creating formal structures that denote very restrictive and self-imposed visual boundaries. As the layers overlap, relationships of personal significance begin to emerge. Multiple copies of lower level structures are then slowly and carefully merged. It is an intuitive synthesizes based both on cultural materials and personal experiences from differing local realities.
The painting process serves as a catalyst for the subversion of the lower level structures, which give rise to new and nuanced substructures. These substructures are guided until their growth composes a self-sufficient system, or finished painting.
It is the fundamental interest of each painting to achieve visual equivalences through contrasting opposites, to allow the observation and recognition of relationships between substructures through surface development, and to delineate ideas of inclusion through terms of exclusion. Through the journey, each work becomes deeply personal, transactional, and, if successful, self-sufficient in its new narrative.