My recent paintings are a reconciliation between past
and present, particularly in regard to Western culture's notions of
spirituality and the relationship between society and nature. Drawing
from a variety of contemporary and historical sources, from the Renaissance
to modern cinema, literature and popular culture, the paintings are
an attempt to come to terms with the present through the immediate
marriage of today's visual culture with that of the past. Both theatrical
and satirical, comical and somber, the paintings pose a view of humanity
that is steeped in the existential turmoil that lies between materiality
and spirituality, where society trudges persistently forward into
the future while the human search for meaning and purpose as mortal
animals remains unresolved.
its roots in the Renaissance and manifesting itself in all manner
of contemporary media, the notion of the rectangle as a window into
an alternate reality has become an inherent mode of viewing in human
culture. Whether via canvas, computer or television screen, there
exists an eager willingness to suspend one's disbelief and subscribe
to the illusion of simulated space depicted on a two-dimensional surface.
In my work, this notion of the rectangle as window is utilized to
present fragments of narratives that are imbued with a degree of reality
while also recognizing themselves as fictional constructs. Consisting
of familiar archetypes from historical painting to contemporary popular
culture, these narratives seek to draw focus on the grotesqueness,
beauty, comedy, and horror that lie just beneath the surface of the
ordinary. In this way, the rectangle is not only a window but also
a kind of fun-house mirror that reflects an image of the real world
while distorting it into something otherworldly.
images themselves come from many different places. Some are calculated
references to art history or contemporary culture and others are the
result of free association, improvisation or imaginative flights of
fancy. Some paintings aspire towards coherent satire or self-reflexive
commentary on the nature of painting while others use history and
current events as a loose foundation for constructing open-ended narratives.
Some paintings are simply imaginative explorations executed for the
sake of satisfying my own curiosity. In any case, central to each
painting is a particular worldview that seeks to balance tragedy with
comedy, beauty with ugliness, and rationality with uncertainty.