Untitled
My work spans painting, drawing, collage, and installation in an interdisciplinary practice that uses perceptual manipulation to rethink formalist histories rooted in universality. I aim to uncover both the ahistorical grounds of painting and the potential for its progress through a disoriented engagement with space by way of the Spiritual. My approach is grounded in Black feminism and queer of color critiques that emphasize lived experience and interdisciplinary epistemologies as methods for opposing white patriarchal systems of reasoning.
As a queer artist of color exploring the fragility of his race and sexuality within predominantly white, patriarchal, capitalist spaces, José Esteban Muñoz’s theory of “disidentification,” has helped me to orient, or disorient, my affinities and aversions to the history of painting and my surroundings. Through a sense of the embodied, I examine how formalist disciplinary teachings made popular during the mid-20th century have led to formations of mourning within its disciplines, that I’d argue, parallel origins of mourning within studies of race, gender, and sexuality. It reinforces my fascination with the subject and also functions as the origin to this circuit of fraught desires.
As a queer artist of color exploring the fragility of his race and sexuality within predominantly white, patriarchal, capitalist spaces, José Esteban Muñoz’s theory of “disidentification,” has helped me to orient, or disorient, my affinities and aversions to the history of painting and my surroundings. Through a sense of the embodied, I examine how formalist disciplinary teachings made popular during the mid-20th century have led to formations of mourning within its disciplines, that I’d argue, parallel origins of mourning within studies of race, gender, and sexuality. It reinforces my fascination with the subject and also functions as the origin to this circuit of fraught desires.