Position

I’m interested in what happens before an image becomes completely conscious.

I begin most works without a plan. Marks accumulate quickly enough that reflex has a chance to get ahead of intention. Shapes appear, disappear, combine, and begin suggesting figures, spaces, objects, and stories. I interfere just enough to pull certain things forward without completely resolving them.

The drawings function a little like Rorschach tests. I can push the imagery toward what I see, but I don’t want to close it off. Someone else may find an entirely different image, character, landscape, expression, or story. That difference is part of the work.

I’m interested in the strange point where something is almost recognizable but remains unstable. A mark can belong to several images at once depending on orientation, distance, light, attention, or the person looking at it.

With longer viewing, the drawings change. Things that initially look like scribbles start organizing themselves. Images emerge from other images. A shape that acts as an eye from one direction may become part of a body, landscape, or completely unrelated form when the work is rotated.

That experience is close to how memory feels to me: several perspectives existing at once, layered over one another and continually affecting what comes next.

I’m also interested in influence—especially the influences I didn’t deliberately choose. The things that have entered my visual language deeply enough that I no longer notice them. Making quickly and working with unfamiliar materials gives those influences fewer places to hide.

The larger practice is an attempt to watch creativity develop while it is happening: to make, document, compare, experiment, repeat, and see what persists.