My current work investigates painting as a material form of memory. More specifically, I want to connect the painted mark to the psychological mark. Each has the potential to last and remain concurrent with the accumulating present. Painting is a surrogate memory holder, a compilation of preserved materials that act as placeholders.
In my work, I reference found vernacular photographs as well as images that I have taken while traveling across the country. These markers are a way of layering my personal memory space with psychologies of persons whom I could never have known. My current work is an investigation of these conflated memory spaces that contain layers of forgetting and inherent confusion.
I grew up on a lumberyard. I remember the industrial surfaces that were brightly painted so that heavy machinery would not collide. These surfaces still inform my practice and also have an influence on my palette. For the past few years, I have been living in the New Mexican desert as well as urban San Francisco. I have been painting both spaces as intersecting planes that also interject vernacular photographic moments. This creates a chaotic layering of transitory spaces that somewhat resemble reflections in glass. Painting my own movement through these spaces and the projection of a vernacular “everyman” creates a space in which the viewer can also enter into and interject their own spaces of memory.