The flat image lends itself to the intentionality of mark making. Representations of generic and stereotypical middle-America remind us of the culture we maintain on a daily basis through our every action. I am interested in exploring the unavoidable contradictions which exist in our personal (and collective) systems of belief, by pointing to the complexity of individual situations. Very often, our ideals are a reflection of the way we wish things were, rather than a product of the way we actually experience them. I find this conflict to be in direct connection to the representational image.
Interior spaces and manicured semi-private outdoor spaces suggest a relative level of comfort and social acceptance. Confidently defined, the architecture represented here sometimes confirms and sometimes questions the stability of the situation. The commonality of the image is encouraged by the absence of personal information. It might be more or less relate-able to the viewer’s experience, either way, the viewer can connect common themes throughout. For this work, I utilize both acquired and invented imagery. No image is without reference.
In one series of paintings, the edge of the painted image defines the edge of the actual support. This body of work includes only the necessary information needed to complete the idea and composition, leaving out any unnecessary or extra space.
Pieces that depict isolated food imagery question consumption both on commercial and personal levels. These representations adhere to the idea of fanciful prepared food as excessive and pertaining to the leisure class, yet immediate and necessary. Presented without mystery, the food item and surrounding utensils are always the main focus of these works. The opacity of the gloss-enameled ground leaves no hint as to the setting of the edibles. The unquestionable focus is the food, prepared and served. This points to frivolousness and escapism on a very basic and consumable level.