oil on canvas
60 x 48"
featured on the cover of New Orleans Review, No. 37.1
Art is made out of more than good ideas.
As a painter, I recognize that the medium itself has properties and characteristics that profoundly influence the content of an image. The paint has the binary ability to summon and refuse, reveal and conceal, beautify and debase. My work frequently attempts to revel in these manifold offerings of the medium, for in so doing, the resulting imagery is consonant with our tangled interaction with the world and its phenomena. Routine are encounters marked by disclosure and obstruction; we happen upon events, objects, spaces, or experiences that we are seemingly able to know, grasp, and understand, along with those we fundamentally cannot. Paint becomes a fitting medium for picturing such a paradox, for painting itself is an in-between act, a simultaneous doing and undoing.
My work, which can also include drawing and collage, thus traffics more in glimpse, suggestion, or fragment than in chronicle. The limitation of my own hand lends itself well to rendering the brokenness and incompletion of what is around me: I cannot see or know or describe in full. Images that indefinitely propose or imply allow me to situate myself, as well as the viewer, as deferential participants, adventuring with the image, rather than exercising omnipotence over it. I aim for my work to assume the posture of contentment within the pasture of finitude, yielding joy in humility. What are we to make of the beauty that can accompany not knowing in full?