About the work...
Utilizing source images from the internet, photographs from my own life, art historical references and intuitive decisions when painting, I hope to reflect upon the relationship between fact and fiction in relation to our experience. Within reconstructed histories and mythologized experiences, my own and cultural ones, the forged connections that play between remembering and invention act as considerations of the nature of reality and identity.
The narrative elements allude to situations, both specific and general, factual and imagined, in a form of visual existentialism that places the importance of the act of painting within a set of self-affirmed constructions of reality and value, the choices made being the literal illustration of Being as ‘decision making’.
These thematic structures that maintain each painting’s cohesion are based in areas of long held personal interest but are essentially vehicles for the contemplation of structures of meaning. Influences such as Meme Theory and Dinosaur Theory help contextualize my practice and form nebulous memeplexes which share common sources in culture and mythologies.
Isolated, de-contextualized or reconfigured, the source materials float in a sea of uncertainty, like our own reflection in a mirror, somewhat familiar but not quite our ‘self’, what is seen differing from what is felt, hermetic experience and shared cultural expressions constantly oscillating between understanding and illegibility.
In the end they are the remnants and evidence of the cognitive, problem-solving nature of painting and the human experience, or at least mine…
The narrative elements allude to situations, both specific and general, factual and imagined, in a form of visual existentialism that places the importance of the act of painting within a set of self-affirmed constructions of reality and value, the choices made being the literal illustration of Being as ‘decision making’.
These thematic structures that maintain each painting’s cohesion are based in areas of long held personal interest but are essentially vehicles for the contemplation of structures of meaning. Influences such as Meme Theory and Dinosaur Theory help contextualize my practice and form nebulous memeplexes which share common sources in culture and mythologies.
Isolated, de-contextualized or reconfigured, the source materials float in a sea of uncertainty, like our own reflection in a mirror, somewhat familiar but not quite our ‘self’, what is seen differing from what is felt, hermetic experience and shared cultural expressions constantly oscillating between understanding and illegibility.
In the end they are the remnants and evidence of the cognitive, problem-solving nature of painting and the human experience, or at least mine…