In my work, I am concerned with the structures and effects of visual technologies (the television, the computer screen, pixilated imaging, L.E.D. screens, etc…). These technologies shape our environments and enable multiple domains (internet, television, movie screen, public signage, banking, etc…) where our culture’s intellect and imagination are shared. They not only convey information and/or media, but also introduce, through their internal architecture, a rhythm, a pulsation, an internal organization which becomes integral to the overall experience. This experience of mediation often remains invisible, but at times, due to a glitch or a lack of programmatic syncopations, becomes apparent. At such moments the grid, the matrix, the blurred architecture is exposed. The invisible structure which holds and enables the desires, fantasies and ideas, either found within or projected into these temporal light based spaces is exposed for its simultaneous simplicity and complexity. These structures relate to the grids upon which cities are built, to grid-like glass curtain walls and to the atmospheric spaces of clouds or water. The exposed rhythms, and repetitions hearken to the rhythms and rituals of daily life (sitting down before the TV, logging onto the internet, turning off of the alarm clock). My paintings begin with digital photographs of these technological interruptions or accidents. Those photos are translated to canvas or panel by hand drawn grids that dissolve and reappear, through the layering of paint, glazing, smearing, combing and brushwork. My paintings are serious and playful attempts to bring the invisible or temporal back to the level of the actual: to bring the multiple reproduced structures of information to a level where they are reorganized and, through the act of painting, made into a particular object. I am interested in the visual fluidity caused through the complicated modulations in these structures and in the field of associations they arouse through prolonged experience.
As an artist, my interest is to explore issues that are visually engaging and culturally relevant. In my work, it is my desire to locate contemporary moments of romanticism, in a context which might at first glance seem devoid of them. My attempt to examine ordinary daily experiences of technology is an attempt to frame questions of meaning, projection, identity, fantasy and romanticism in a pragmatic way. Subversively, the structures I explore invite further reflection on the necessity for glitches in the dominant architecture. It is the breaks, interruptions and pauses, though unintended, which allow for greater perception, reflection and beauty.