Improvising with materials from my daily life and history as a painter:  studio clothes, used lumber, photographs of paintings, discarded drawings, printmaking proofs, picture frames, athletic apparel, and sporting goods, a story is revealed and dismantled.  These materials hold the trace of being worn, they've soaked up sweat and the underpinnings of exertion.  Objects like basketballs pump up my concern for the complexity of masculinity and gender non-conformity, belts tailor forms to stand in for bodiless figures, and scavenged pieces of painted construction-wood suggest a history of wear and tear. References from art historical sources like pages from books, drawn reproductions, and appropriated sketches place my work in dialogue with painting’s history. It is then mirrored in the work by the materials of my own use, brushes, brayers, stained layout paper, and scraps of old paintings. 

This cobbling of material creates a disembodiment as a result of an overhauled approach to figurative painting and sculpture.  At first glance is a representation of the current age of robotics and mass consumption disconnected from the tactile self.  Upon closer investigation a physical presence is left over from its material expenditure.  How do chroma cues and gestures of things attempt to instill humanism back?  Monochromatic color schemes – like an installation of yellow or red paintings and objects, tap into emotional associations of rage, success, extravagance or trustworthiness for example.

I staple, cut, tack, photocopy, paint, and glue things weathered and scuffed to show a rough-hewn nature that draws out a texture and history of use. Sometimes these bricolages are reinstalled elsewhere site-specifically or painted marks extend to the walls which never exist identically in a new installation space. I regenerate these pre-existing components into new pieces furthering a reflection upon the transformation of the body and the shifty territory and time it occupies.