The works in ‘Love Songs’ are a continuation of my practice which employs painting as an inquiry into the nature of being.
Growing up in Arizona I felt compelled to play music and saw this as a likely career path. I did however have an older mentor, an artist who moved to New York to study painting when I was twelve. Hearing the stories of his experience with the New York art scene dramatically shifted my understanding of what it meant to create and share art from a young age. Since as long as I can remember I knew I would have some sort of creative output, it’s felt like a very intuitive journey thus far.
In one regard I simply like the intimacy of small works and the full body temporal experience of larger works; I feel the different scales have the potential to stimulate unique philosophical probes that build upon one another. For example, when experiencing a smaller piece up close you’re more acutely aware of its materiality, whereas a larger piece may draw your attention to your own physicality or the volume of the surrounding environment.
Rather than being reactive to the pre-existing attributes of a single, unique setting, my paintings direct towards a focussed awareness of their immediate surroundings: it’s about intentionally making space in that environment. In the case of my show at Waddington Custot, the exhibition galleries were considered in making the body of work, but they are a non-essential ingredient: my installations work with, rather than altering, the architecture of the spaces they inhabit.
I'm fascinated by the tension between reality and our perception of that reality, mediated by the limitations of our senses. Another way of expressing this is to think about the perceptible, which becomes our internal reality, and the imperceptible, which is hiding in the gaps. This manifests in my work as a unification of form and formlessness.
My practice truly functions as a mode of inquiry for me, so in a sense each new expression is deeply indebted to those that came before it and each paves the path for subsequent investigations. I’m pulling a thread and trusting the process, humbly learning along the way.
I draw loose delineations of the compositions in colored pencil based on sketches before I paint. If you look closely you can see these as veins floating near the outer edges of the forms in most of my works.
I’m often asked this question and a friend once poetically said it feels as though it’s the first time these colors have come into existence. I love this sentiment so much I wouldn’t want to contaminate it with any didactic explanations.
In the studio, as in life, I’m most effective when focusing on one thing at a time with dedicated presence.
Being an artist is all I know, it’s my life. I’m grateful to have access to this language, humbled to have an audience and genuinely excited to see where it goes everyday.
I currently have a solo exhibition up in London at Waddington Custot and solo exhibitions opening in March in Copenhagen at Von Bartha and June in New York City at Sean Kelly.