My work has always been about slowing down and looking - whether simply as a way of reconnecting to the world around me or as a means of quietly translating what I see through visual metaphor. My paintings offer up abstract narratives that invite the viewer to also slow down, to experience something more directly and to get lost in the mystery of what it means to just look.
During my time in graduate school at Pratt Institute a decade ago, I explored 3-D computer modeling and animation as a means of expanding my painting practice. My intention back then was to create dialogue about human perception and convey my own perceptions of a world now often mediated by constantly shifting representations. My recent work is a kind of non-linear, abstract narrative influenced by those simulated spaces, populated with animated torus knot-like forms from the past. They still hint at an interface, but one in which the simulation is brought back to bear on the viewer in the tangible space of objects. Instead of relying on technological processes though, they are painted from memory. They engage the viewer in a more direct experience that is vaguely familiar, though very different from the liminal experiences we so often encounter through the lens of modern technology.
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