About Painting
My process of imaging is like dreaming and daydreaming. It is also an exploration of autobiographical themes. By depicting both real and invented people set within remote imaginary landscapes, I create characters who play roles like actors on a stage. The viewer is placed at a temporal and physical distance outside of the scenes like a voyeur looking in on private moments.
While I embrace traditional modes of storytelling, I have no desire to explicitly illustrate narratives. My paintings develop over periods of many months, sometimes years, as I draw from memories, ambiguities, and odd details in the world around me. I study the faces of strangers, even those who have crossed beyond the invisible boundary of sanity. I see villains and saints pass by me on the street, and try to make sense of obscure and isolated puzzling events. Through my obsession with multilayered and translucently glazed surfaces, I hope to develop a personal mythology and an imaginary world.
My process of imaging is like dreaming and daydreaming. It is also an exploration of autobiographical themes. By depicting both real and invented people set within remote imaginary landscapes, I create characters who play roles like actors on a stage. The viewer is placed at a temporal and physical distance outside of the scenes like a voyeur looking in on private moments.
While I embrace traditional modes of storytelling, I have no desire to explicitly illustrate narratives. My paintings develop over periods of many months, sometimes years, as I draw from memories, ambiguities, and odd details in the world around me. I study the faces of strangers, even those who have crossed beyond the invisible boundary of sanity. I see villains and saints pass by me on the street, and try to make sense of obscure and isolated puzzling events. Through my obsession with multilayered and translucently glazed surfaces, I hope to develop a personal mythology and an imaginary world.