About
Through hand-written algorithms, I connect a painted visual language with the written language of a text document. Each abstract brush stroke in this series was determined by certain elements in the text connected to the painting through “if/then” statements. For example, the number of marks in the linear clusters are determined by the number of letters in each word and the color is decided by the first letter. I work with the text document and the painting simultaneously, following the instructions for each letter and marking it off with my brush on the text as I complete it in the painting. This process results in a secondary text painting I call the "algorithm byproduct.” The texts I work from are official documents—societal relics that have both objectifying and violent language, arguing an inextricable link between those two concepts. I highlight the most incendiary words which become the highest contrast abstract moments in the painting. They hold visual weight in the painting and then become the only legible words remaining in the text document, leaving behind a kind of violent poem for the viewer to contemplate alongside the painted imagery. Finally, in the newest series there is the stark presence of rendered plant forms arising from the abstract elements. They embody the algorithms in nature--as in the fractal of a fern leaf that can be replicated by an iterative function system. These systems have existed long before the advent of the computer and demonstrate that human cleverness – which often justifies our dominion over other living things – is not so different from systems that underlie the natural world. When the viewer considers the natural forms in conjunction with the content of the text, it reminds us that when we relate to nature as an object to be used we extend the same objectifying logic that drives violence against bodies to the entire ecosystem.
Practice
Large scale, colorful, textured. I work with oil paint with wax in it so each brush stroke I made leaves behind a raised edge, creating an almost woven effect with small lines of texture across the whole canvas.
Currently working on
After being fully abstract for the last decade, I have been working with highly rendered plant forms. These began as intuitive additions but I have started to see how they fit into my already established practice of painting with systems and texts.
Inspiration
I do a lot of research into philosophy and math. I will study different mathematical phenomena by reading books (or listening to audio books while I paint). And I study philosophy the same way or, even more pointedly, through attending law and critical theory conferences. I never approach these resources with a particular project in mind. Instead I let the ideas build up until I form a philosophy around what it means to participate in our current society and what an artist's role can be to reflect or challenge it.
Upcoming shows & projects
I have a new large painting commission now installed at a JP Morgan bank in Chicago. I have solo show opening in Seattle on Sept 3rd. I will be part of a group show in Geneva, Switzerland in November, and in January of 2027 I will participate in an art and math symposium at Indiana University Bloomington.
Favorite spot in Chicago
Handlebar in West Town. They serve vegan food and last time I was there they were playing all heavy metal! A great combo.
