I work abstractly and so I am acutely aware of the impossibility of an authentic, autographic mark. As I paint, I adapt multiple forms of gestural mark-making. Mark-making is itself an idiom, its own code of signs. I believe that painting, especially now, demands bravery. Bravery cannot exist without vulnerability, without the possibility, even likelihood, of failure. That likelihood gives the attempt its value. If I didn’t have skin in the game, I wouldn’t need to make the work. Painting is how I interpret my sense of being within the world. Molly Zuckerman-Hartung writes that “the dream of abstract painting in the twentieth century was a dream of whole people, whose senses weren’t fragmented, whose vision was complete, who made paintings with their hearts and minds and bodies in harmony.” Even if the dream of wholeness is permanently fractured, I know that working my way through a painting, I come out the other side with a realization of something infinitely more complex. By painting, I do not redeem painting. In painting, I cannot render myself, or anything else for that matter, whole.
"[Title Redacted]" 2015
"All Day Permanent Red" 2015
"An Unexpected Change in Cabin Pressure" 2015
"Don't worry, you'll be fine" 2014
"Flesh World" 2015
"For Philip K." 2015
"Head Case" 2015
"I'll never leave you" 2014
"The Hot Zone" 2015
"The Radiant Hour (Early Marriage)" 2015
