When first observing my art, viewers are confronted with works containing direct and uncomplicated compositions of light, neutral palettes, geometry, and loose collections of drawn and brushed marks. These outward characteristics appear formal and direct, recalling geometric and reductive abstractions, communicating a message of non-objectivity. However, closer inspection challenges this initial response as tension builds between controlled and intuitively applied layers, painted and drawn shapes and gestures, and surface qualities that evoke questions of materiality and textural subtleties.
The visual friction created by these competing layers, shapes, and marks form an explorative dialogue, one in which a viewer is engaged by the whole of the work, then is drawn in by increasing levels of intricacy. The conversation becomes one in which a viewer begins to identify conflicting elements and how they interact, recede, or call for attention. Avoiding direct narratives and pictorial references, I invite viewers to consider pieces through quieter engagement, while becoming acquainted with visual cues that form questions of compositions that compete for balance.
The response of the viewer echoes reactions that I experience when defining inspiration. My art is self-reflective, created with a desire to find harmony in a quiet and meditative space. Allowing for interpretation and expression of various extremes, I seek to balance, not mask or neutralize, external influences and internal conflicts that I use to communicate aesthetic values reflected in the content of my work. I invite viewers to engage with compositions that elicit deeper inquiry and contemplation through personal discourse with the softened visual disruptions they observe.