I explore how presence (Image) & memory (Afterimage) are experienced, and the liminal continuum between the two.

How we are, how we aren’t, how we can be present with the world around us—a lifelong preoccupation with observing and encountering these interconnected conditions is the underlying spark of my practice. Focused on liminal and ephemeral moments of interaction and vision, but committed to the constraints of static materials, i explore the continuum between the present (Image) and memory (Afterimage), and how that exploration can be revealed by stationary drawings and paintings. My Image works explore and express how much can be taken in during any given moment. Honoring that limitation, these works are made solely in the moment, not to be altered or augmented later. For moments that still intrigue me later, experiences that are curiously sticky, i use my own mental memories and collateral support (sketches, photographs, writings) to further their investigation. These Afterimage works are memories made manifest, often letting the evocative power of intuitive color take a lead role. All my work is a discussion of how multiple modes of depiction can coexist concurrently, confabulating and converging.

various other thoughts

I am interested in how vision varies in clarity and form.
 
I am interested in how memory of even a single event is frequently multifaceted, yet unified thru your recollection.
 
I am committed to 2-D static forms for how they can still move us in a multi-motion, smartphone addicted world. Drawings & Paintings have the ability to be immersive without isolating. It’s all right there waiting to be seen, discussed and considered. Unlike film and other motion based forms, no darkened rooms, nothing missed because you looked away, listened to the question your friend had for you, or simply the bad luck to walk in at the middle. The pace is set by the work, but the experience is dictated by the viewers.
 
In reference to the absurd (yet stubbornly persistent) idea that figuration and abstraction are inherently distinct approaches, i turn to Morandi’s succinct summation: I believe that nothing can be more abstract, more unreal, than what we actually see.
 
Read titles, they’re important contextualizing information.
 
And finally on visual representation in English capitalization rules, why am I more important than you? Shouldn’t you and i be equals? What other language so elevates the first person singular?