My work is primarily oil on canvas. It is meditative and experimental. It has taken on a methodology of deconstruction; whether I'm investigating an image, a view, an empty field, or creating a field.
The fractured resulting images respond to the way new technology disrupts previous rhythms of consciousness. There exists today a constant tension of demand for our attention. In my paintings there is a vibrational energy, an ADHD of canvas. I'm trying to instill and reconcile this new digital identity into my painted perspective.
"To inhabit both the real and the virtual worlds at one and the same time, and to be both here and potentially everywhere else at the same time is giving us a new sense of self, new ways of thinking and perceiving which extend what we have believed to be our natural, genetic capabilities." Roy Ascott, Art and Telematics
What might this new sense of self look like translated into painting?
The symbol-grounding problem is the realm of deconstruction. Its corollary on canvas is the figure-ground relationship. How does one understand an image, form, and meaning when they're everywhere (Figure -through digital self) and not really here (Ground - distraction of corporeal self/new scientific understandings)?
Meaning is relative and situational. There is a layering process in my work which is more appropriate for the 'windows' of a horizon-less digital experience, than a perspectival Cartesian existence. Here, all is expressed as a uniform distancelessness that revolves around "me". (Important is that a sense of depth is still emergent)
I have an interest in science and the aesthetic its discoveries can inspire. The pixelation of our screens, the augmentation of our worldview. The print-out of genetic code. The unease of a world where we are slowly realizing the truth that technology cares little for our wellbeing.