The world offers arbitrary stimuli. I pick through it, grasping for echoes of myself. The whorl of the branch is the knot of the grain is the callous of my elbow. Making these connections provides an object based resonance that aids in the identification of my body’s boundaries within the environment. Through locating these positions, I determine where I start and stop. Conversely, these points of exchange provide fluidity, as I empathize with things that are a semblance of myself. Pattern is a tool that mediates between the self, culture and the environment. In my paintings, I am questioning patter’s shifting identity as both a bare-bones armature, the order upon which chaos accumulates, and as a permeable membrane, with which human beings might blanket their world in order to unify it. The slipcover perhaps. It really ties the room together.
Allowing natural patterns to provide frameworks for my mark-making process, large-scale pieces attempt to address a shift between flat and sculptural space. Through the sheer accretion of layers, the inference of the hand, the failure to maintain objectivity, the pieces shift, growing their own identity. It is that point between intent and production, structure and dissolution, that might vibrate. It is idiosyncrasies that capture my imagination.