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Burning Bridges


The irrational moments of the everyday thoroughly interest me. I find myself wondering what the underlying nature of our perception truly is and where the proverbial lines of abject and beauty begin to blur. Merging psychological biases with societal ethic structures reveals the inner workings and processes of the subconscious while alluding to our perceivable reality. Through recognizable imagery that discusses self-deprecation and loathing, anxiety, insecurities, fear, paranoia, and alienation I question the moral and socially isolated assumptions of our society. It is the absurdity of reality that I want to fully understand. Why it is, what it is.


Artwork that uses recognizable humanistic aspects and tropes, such as diminutive or compromised physicality, impassioned external appearances, emotive color, two and three-dimensional imagery, and materiality, creates the pseudo-mental environment that the participant/viewer perceives of the objects. The participant/viewer devises these formulaic judgments through their naturally biased belief structures that they’ve developed unconsciously and actively throughout their singular existence. Unavoidably questionable, though ones’ perceivable reality is individually factual, it is almost entirely nonsensical and built upon societal fictions, that only pacify and rationalize our actuality. It is this false positive that exposes the truth while hiding the honesty of our unapologetic necessity of self-preservation.


The use of the figure in the artworks is necessary to force the issues associated with identity and comparison. The object figures appear to be in a world alone and removed from one another and the participant/viewer as well. This object presence and implied mentality is important concerning the installation itself which activates the gallerist and the participants as an integral component of the artworks. Though their environment is not founded in our perceived reality, the aesthetics merge into our conscious and we cannot help but have an emotive reaction to the objects. Albeit, this may not be what the participant/viewer believes to be the original intention of the artworks, it is however the actual endgame. The dejected and vulnerable objects displace their isolation and reiterate the emotional mental state that the participant/viewer mirrors upon the characters themselves. This separation from our reality removes any chance of redemption for these helpless object creatures. The participant/viewer is forced to complete the story and make the overall choice of whether to fully identify and sustain the objects’ disdained paradigm or to dismiss. This conscious choice based upon subconscious underpinnings reveals the object's subversive agenda and prolongs dejection in an inanimate object or the participant/viewer themselves.


This decision happens almost instantaneously in our fractured society and self.


The participant/viewer is forced into new and unfamiliar territory within themselves and their perceived idea of comfort and acceptability. The emotionally weighted, psychologically conflicted and abysmal artworks reach a point at which logical certainties waver, and familiar realities are warped into deplorable hopelessness. This exploration is how we perceive reality through the veil of self and what the mind decidedly tells us is tolerable in a righteous society.

(Statement for Postcards I'll Never Send: PINS)​

Catch the wind to slow your descent.
A momentary lapse from the daily mundane allows me to reduce the pointless minutia from the important undertones of life. Perception, or at least what we believe to be perception, clouds our lives. Agendas, alliances, and associations create the rationale which leads to interactions that are full of bluster and benign sentiments. These fallacies are what I pretend to know.

The determinable and discernable statements are anything but innocuous. Characters take on the role of self and society. A quiet essence looms over each image though ostensibly there is a lightness to many of the ideals presented. Vulnerability is created through the incorporation of the text, characters, and materiality to embody the emotive imagery.

A warm, passive calm is evoked in the flattened collages momentarily before the weight of the presupposed phrasing. Sorrow and happiness, life and death, curiosity and blatancy, rational and otherwise are the motives used in this body of works that symbolize nothing but is felt by everyone.

(Statement for Pandemic Artworks)​


The idea of "home" no longer has the same identity or sense of place as it did in our recent past. Our "new normal" has been forced upon us and made relevant by necessity and exposure while we seclude and exclude ourselves. We are all in this together, alone.

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