STATEMENT
“It is probably excellent to study the ancient masters to learn to paint,
but this can onlybe a superfuous exercise if your goal is to understand
the character of the present beauty.” - Charles Baudelaire
Baudelaire urges us to use our intuition as the answer— what feels to be true. When we question phenomena, events, and experiences, there is always this need to understand it through some conscious schema, while our ambiguous, often primeval notions are neglected for a more clear and unequivocal mode of thinking.
My work seeks the former: a pure form of human reasoning behind the everyday throws of life, where uncertainty and feeling reign true. I use stream of consciousness, spontaneous material experiments, ambiguous and serendipitous actions through an entirely intuitive process to deliver unseen fecked capacities.
The substance of the painterly writing is color. My color is like a body without organs. It would be remiss to call it a “system” or “structure,” instead the tones and palettes are blended and fused to elicit diferent temperatures, moods, and analogous imagery that are in dialogue with one another. Everyday objects, memories, observations, ephemeral movements, postures, urban landscapes, and history comprise the content of my work, yet the objet d’art is not my primary aim, rather the underlying material processes, initiation of actions, and unconscious mining make up my fnal products. While color generates fluid relationships in my work, the forms and constellations generate their energy where each shape possesses its own verb. Their instinctive placement and asystematic patterns captures a natural logic.
We see geometry as shapes that function to ft and measure, yet my paintings break this standard. The work features ambiguous geometry in which color, robust forms, intuitive details, and process outplay linear and synchronic modes of painting. Just below that seductive languor, however, is the power of tightly coiled springs. The paintings often begin with a mapping of the found objects on the foor. I reinterpret them through a series of physical interventions.
My work includes pure pictorial discoveries and play through a development of the material itself. The familiar becomes strange, it’s about taking these objects out of their context and stripped them of their original function completely.
Explicitly site-specifc, in my hands these items feel so far removed from that functional use economy as to render the reference meaningless. In this language, which performs the potential of reordering and transformation, they are signifers of kinetic energy. My work speaks to the potential of medium, the possibility of crafting new language from old words — not so much where have you been, but where are you going?
EDUCATION
Hunter College, The City University of New York, MFA Studio Art, 2017 - 2019
Central Saint Martins, BA Fine Art, 2012 - 2015
Central Saint Martins, Foundation Diploma in Art & Design, 2011 - 2012
SELECTED PRESENTATIONS
FORMS OF FREEDOM, Plomo Gallery, Mexico City, Mexico, Upcoming Solo Show.
The Collector’s Den, HWD Gallery, Sheung Wang, Hong Kong, 2019 (Solo Show)
The Origin of Who U Are Right Now, KVADRAT16, curated by Simon Ganshorn, Valby, Copenhagen, Denmark, 2018
Fragments Of, The Blue Factory, London, UK, 2015
Show One, Central Saint Martins -Degree Show, London, UK, 2015
Magic Assemblage Magic Assembly, Translation, Petrie Museum, London, UK, 2014
Proprioception, Lewisham Arthouse, London, UK, 2013
PRESS
Kopenhagen Artguide
Andersens Contemporary
Akoya Books
Art Attack
Let’s Panic Magazine
The Culture Trip
RESIDENCIES
Palazzo Monti Residency Program, Brescia, Italy, June 2019
AWARDS
Clyde & Co Art Prize - Shortlisted
