Artist Statement

Each piece begins with an interaction between person and subject. Completely by chance and seemingly out of nowhere I sense something lurking, and once I see it my world freezes. It is the unnoticed and overlooked. And once I notice whatever form it is taking, and no matter how much I try to ignore it, I am unable to; it compels me to look at it, locking itself it my mind. The unnoticed and overlooked stares at me, making direct eye contact and continues to watch me without flinching until I have documented it in some way, either by taking a photograph, or, more likely, drawing the form. It is as if it is reaching out, longing for someone to truly see it without being automatically dismissive, and its only after this has happened does it sit harmoniously back within the environment.
Concerned by the ambiguous and the mundane, the works push gestural qualities and forms found through chance encounters, such as shadows, graffiti and structural components and faults. Through experimentation with the overlapping of elements, methods and textures, the work begins to take on a life of its own and develops intuitively, often reworking and reusing elements in order to produce a dynamic compositional state. Responding and resonating with the matter around us, the paintings oscillate between controlled amplifications of what I call the unnoticed and overlooked. The freedom of intuitive bodily gestures allows me to create a process which harmonizes control and chaos into one meditative creative state. What remains is an index both of the individual forms, amplified and edited during reproduction, and the process of production itself, with brush marks, spray of paint, and oil stick markings reimagining and redeveloping my subject matter into something new; translating the unnoticed and overlooked into something that demands your observation.