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Artist Statement

My work attempts to accidentally create visual experiences that spark emotion and thought. I’m not interested in capturing likeness, focusing primarily on line and color using both painterly and hard edge techniques that would be out of place during the mid century only because I blend the two and show much less restraint in my use of color. I don’t always attempt to convey any particular idea, or even to express any particular emotion, as I recognize that I do not own the meaning of my work.

My body of work lacks cohesiveness, which I sacrifice in the spirit of experimentation; once I feel a project is complete, I feel the need to move on to something else entirely. I always have several projects going at once. 

I enjoy quickly adding and removing elements until I can’t imagine any addition that would improve a composition. My primary medium is acrylic, as it's quick drying time is most conducive to this process, though I occasionally experiment with mixed media projects that incorporate traditional and non traditional media including 24K gold leaf, charcoal, oil pastels, oil paint, chalk, and modeling paste, and have even used (repurposed) mink fur, and computer scraps. 

Although I have a deep love foe 2-dimensional art, I recognize its limitations, and I am excited to execute several installations in the future. I am critical of my work, always thinking of ways I can improve as an artist. Even so, I feel I have the ability to create interesting compositions, and I’m looking forward to exhibiting my work in several venues in 2022. 


Influences (in no particular order) include: Agnes Martin, Barnett Newman, Jean-Michel Basquiat, Mark Rothko, Willem DeKooning, Helen Frankenthaler, Jackson Pollock, Helma af Klint, Robert Motherwell, Gerhard Richter, Frank Stella, Franz Kline, Yves Klein, Kenneth Noland, Clyfford Still, Lee Krasner, Cy Twombly, and Jasper Johns. 

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