Drinking cup, 2023
I pour, sand, stencil, drip, and unstick paint, and I embed, cast, render, and drag objects on surfaces. My practice is operational and messy. These operations sometimes undo or hide previous moves. Repetition reveals the engineering of the accident. Using a combination of planned pours and spills and open-ended material experimentation, I complicate assumptions of how the painting surface is made.
I make a surface so slippery and smooth that paint floods to its edges. Horizontality, flatness, and blankness take on active states in my processes. Surfaces collect matter face up, marking passage of time and proximal action. Casts of giant scrunchies, small nails, hair balls and other objects are embedded into the gesso of a painting. The indexes of these objects act as weights, ridges and holes that paint pools into and around. Accidents are orchestrated, like a perfect messy bun.
Compositions lay in a pile, wrap around each other, and carve out shapes against one another, creating misrecognitions and non-sequiturs. Things lean. My operations are in relationship with each other, and they don't seek harmony.
I make a surface so slippery and smooth that paint floods to its edges. Horizontality, flatness, and blankness take on active states in my processes. Surfaces collect matter face up, marking passage of time and proximal action. Casts of giant scrunchies, small nails, hair balls and other objects are embedded into the gesso of a painting. The indexes of these objects act as weights, ridges and holes that paint pools into and around. Accidents are orchestrated, like a perfect messy bun.
Compositions lay in a pile, wrap around each other, and carve out shapes against one another, creating misrecognitions and non-sequiturs. Things lean. My operations are in relationship with each other, and they don't seek harmony.