陈列您的艺术作品给每天无数的访客观看

My figures are alternate selves, people who represent aspects of myself. They are people I want to be, or are afraid of becoming. These people are individuals contained within my own personality; that is to say, I am not only the creator of my Art, but its main subject. My environments and figures represent my perception of the world and myself, this sometimes harmonizes and other times create discord. Bands of color or shape fighting for space and positioning within the picture further emphasize this variety of influences, this discord or harmonization.

If my art is my own mental landscape, or my perception of situations in the world, then everything must have the same level of importance. Every mark should have a similar feel of worth, be it on a face or a band of color in a sky. Being a very intrinsic and internal person, I have a hard time separating myself from my environment. I consider myself an element of my environment and the sum of its parts. My only view of this world is from inside myself and it is from this view that I sketch my model. If I have something that is inside myself that doesn’t exist in reality, I create it. If I find something in reality that I do not have inside myself, I study it. The balancing of this conceptual equation is a large driving force for my work.

I believe that an Artist is a filter. Everything the Artist is exposed to filters through his/her consciousness and sub-conscious. The objects and thoughts that get caught in this filter are expelled in the form of Art. This is why I do not use visual source material for my artwork; I believe that everything I need to create an artwork is contained within me at the time the work is created. Any tampering with that part of my process make the work feel false and not of my own hand.

The conventions used in the construction of a figure are based upon what looks correct to me. The structural underpinnings of the figures are from people and things I grew up seeing, things that left an impact. The topical flesh is constructed in a way that keeps my interest. Meaning, the creation of the work is as important to me as the finished artwork. I am beginning to see paint as an object, not just a means to an end.

Every object in one of my works is intentional and representative of something. Symbols like tree forms are representative of a deeply implanted idea. This makes sense to me in the way that they both, ideas and trees, start off as seeds from elsewhere, and can grow into a towering, immovable object. I try to have the same level of intention and thought placed in every object I add to a work. It isn’t important if the viewer understands exactly what I was trying to say, yet I believe that if all the individual components were understood, the image would read like a sentence.

An Introduction to the Unified Self

2006
Oil on Canvas
30in X 32 in

Overwhelm

2007
Oil on Canvas
24in X 36in

A Futile Chase

2007
Pencil on Paper
50in X 36in

Contemplation

2007
Oil on Canvas
36in X 48in

Transfering to a Simmilar Idea

2007
Oil on Canvas
50in X 50in