| | My work begins with the construction of a language of abstract forms using the images that inhabit my social environment, a world informed by my personal encounters with popular culture. These forms draw from the history of abstraction: biomorphic, geometric, decorative and illusionistic, but assume human attributes as they crowd, press, fly and hide. Are they anxious, cooperative, or simply surveying their space? I sort, stack, stretch, and otherwise manipulate these forms, and finally knit them into a system suggesting a pattern, an interaction, a narrative. This system forms the matrix that anchors my painting: an ordering of complexity. | |
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