My paintings deal with residual spaces. They function like transitory backdrops to an ongoing cast of provisional objects. Taking prompts from cartoon landscapes, film stills and imagined interiors, these dissolving surfaces all the while nod to the history of painting.

A stretched canvas is a dumping ground for obsolete, itinerant forms. Work is largely procedural: areas are marked out, and paint poured onto the canvas in sections. But the linen ground is epidermal; materials bleed through from either side, and a conversation starts to take place. Within an unstable canvas ground aesthetic ideals are dislodged and corrupted. Painterly tropes, framing devices and modernist structures all emerge as forlorn icons traced across the picture plane.

Grouped figures loiter and gesticulate just below the surface. They’re all extras or stand-ins, hinting at fabricated narratives transposed across the series. The ground rises up to dissolve the form; each canvas is a deleted scene, an outtake from an epic. A coinciding body of sculptural maquettes act as proto-parts of the paintings, or become fragments of migrating assemblage. These paintings are all facades! Each one a filler painting within the ongoing series.

I am interested in painting as a newly networked medium, now imbued with high-speed dissemination across digital platforms, yet still inextricably linked with the intimate touch of the maker. The medium itself seems to suggest a new democracy of forms. Canvas grounds are like thoroughfares checkered with hybrid bodies, psychological debris and reconstituted, profaned objects. Like deteriorating palimpsests, my paintings occupy an awkward territory between painting-as-object, and remembered, liminal spaces.

My paintings deal with residual spaces. They function like transitory backdrops to an ongoing cast of provisional objects. Taking prompts from cartoon landscapes, film stills and imagined interiors, these dissolving surfaces all the while nod to the history of painting.

A stretched canvas is a dumping ground for obsolete, itinerant forms. Work is largely procedural: areas are marked out, and paint poured onto the canvas in sections. But the linen ground is epidermal; materials bleed through from either side, and a conversation starts to take place. Within an unstable canvas ground aesthetic ideals are dislodged and corrupted. Painterly tropes, framing devices and modernist structures all emerge as forlorn icons traced across the picture plane.

Grouped figures loiter and gesticulate just below the surface. They’re all extras or stand-ins, hinting at fabricated narratives transposed across the series. The ground rises up to dissolve the form; each canvas is a deleted scene, an outtake from an epic. A coinciding body of sculptural maquettes act as proto-parts of the paintings, or become fragments of migrating assemblage. These paintings are all facades! Each one a filler painting within the ongoing series.

I am interested in painting as a newly networked medium, now imbued with high-speed dissemination across digital platforms, yet still inextricably linked with the intimate touch of the maker. The medium itself seems to suggest a new democracy of forms. Canvas grounds are like thoroughfares checkered with hybrid bodies, psychological debris and reconstituted, profaned objects. Like deteriorating palimpsests, my paintings occupy an awkward territory between painting-as-object, and remembered, liminal spaces.

My paintings deal with residual spaces. They function like transitory backdrops to an ongoing cast of provisional objects. Taking prompts from cartoon landscapes, film stills and imagined interiors, these dissolving surfaces all the while nod to the history of painting.

A stretched canvas is a dumping ground for obsolete, itinerant forms. Work is largely procedural: areas are marked out, and paint poured onto the canvas in sections. But the linen ground is epidermal; materials bleed through from either side, and a conversation starts to take place. Within an unstable canvas ground aesthetic ideals are dislodged and corrupted. Painterly tropes, framing devices and modernist structures all emerge as forlorn icons traced across the picture plane.

Grouped figures loiter and gesticulate just below the surface. They’re all extras or stand-ins, hinting at fabricated narratives transposed across the series. The ground rises up to dissolve the form; each canvas is a deleted scene, an outtake from an epic. A coinciding body of sculptural maquettes act as proto-parts of the paintings, or become fragments of migrating assemblage. These paintings are all facades! Each one a filler painting within the ongoing series.

I am interested in painting as a newly networked medium, now imbued with high-speed dissemination across digital platforms, yet still inextricably linked with the intimate touch of the maker. The medium itself seems to suggest a new democracy of forms. Canvas grounds are like thoroughfares checkered with hybrid bodies, psychological debris and reconstituted, profaned objects. Like deteriorating palimpsests, my paintings occupy an awkward territory between painting-as-object, and remembered, liminal spaces.