Given that my paintings and drawings tend to draw on formalism and abstraction as primary languages, one could say my work is nearly entirely technique. I think that the ability and decision to use material as its own metaphor, in most cases, requires a very solid foundation in developed technical skill. There are certainly many stellar paintings and drawings that are an exception to that claim, however it holds true in regards to my own practice. I feel that the things that I wish to articulate visually require a certain degree of conviction, or else my ideas would get lost in a sea of paint.
How do you see the relationship between emotional and intellectual perception of your work? In particular, how much do you consider the immersive nature of the viewing experience?
I think they are both equally necessary for engaging with the work I make, as they sort of influence the reading of one another. Given the personal nature of my work, outward perception is not the foremost thing I think about when making. That said, I do have a tendency to rely on the sublime when simulating illusory space. I like to make work that reads as enormous, regardless of the physical scale of a substrate; I find it an effective tool in keeping my work engaging while still maintaining its delicate painterly subtleties.
One of the hallmarks of your practice is the capability to create a direct involvement with the viewers, who are urged to evolve from a condition of mere spectatorship. So we would like to pose a question about the nature of the relationship of your art with your audience. Do you consider the issue of audience reception as being a crucial component of your decision-making process, in terms of what type of language is used in a particular context?
As previously mentioned, I tend not to immediately think about the potential audience for my work. If I were to do so, I think I would lose the whimsicality and strange qualities present in the subject material with which I work. A lot of what I make is a presentation of what I find interesting, or fascinating; If I were to consider an audience before making the work, it would lose its sense of curiosity and I would censor myself through overthinking. My job as an artist is to engage people, so if I am not engaged with the work, the work would no longer read as engaging, simply put. That said, there are aspects to the artistic language that I use that help make sure there is at least some way to begin reading the work. Painting as a discipline is particularly seductive in that most people can begin engaging with it without having a background in art. It has a beautiful immediacy that commands attention, but then it slowly undresses to divulge its secrets the longer one interacts with a work.
While studying your paintings I couldn’t help but think about a Polish writer, painter, philosopher Stanislaw Witkiewicz http://culture.pl/en/artist/stanislaw-ignacy-witkiewicz-witkacy While talking about his creative process, he stated:
I am, which means that I comment on myself as a creation that I shall never be able to analyze to the end. I am reduced to experiments with the coauthor of my existence, psyche. The form of my thoughts and one day a beautiful death are in store for it. I would like to watch myself in the course of dying when the interpretation of pure, aesthetic sensations, merging into one, reaches full freedom ... I imagine the disappearance of the proportions of my body and the growing devastation of my consciousness. It must be extremely fascinating.
Can you relate to these words in any way?
I think what Witkiewicz says there applies to most creative individuals, in that the work we create provides a snapshot into the inner workings of our thoughts, experiences, and being. Art is just as much about the maker as it is about the made. You could conclude, as has done Witkiewicz, that an artist in an of themselves is an art object that is constantly being reworked to the point of resolution; the work that results from their practice are precipitates that give context to a broader contextualization of their relationship to culture. I find these words resonate with my artistic practice, to the point of being a near literal reading of the broader intent of my work. I use my art as a means of quantifying that which surrounds me on a fairly acute scope, often looking within my own body for inspiration and to spark curiosity. I have a very intimate connection to what I make, even if my subjects and research material do not immediately appear to my naked eye. I liken it to a scientific diary; I quantify my journey to gain a deeper understanding of how and why particular phenomena happen, as well as how my relationship with these phenomena is symbiotic or affective.
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