I have two series of paintings each based around a different idea. They are The Radicalization Series and The Supplementation Series.
The Radicalization series are about painting what I feel and feeling what I paint. Each painting is begun from a point of impossibility, knowing we are not even able to think what any of this really is, whether it’s the world, time, death, or the universe. There is something traumatic, something resisting symbolization, something we have screened out by domesticating our reality. The paintings become what we are incapable of contemplating and what we do not want to contemplate, what is outside us but also inside; a traumatic kernel at the core of subjectivity. If paint has the ability to transform I am not changing reality, I am bringing something out, something unseen, something functioning as repressed and unconscious.
The Supplementation Series is based around the idea that we use art, fiction, and images to fill reality in. There is a feeling we have that something is missing, there is a void at the core of reality, and the core of our beings. We use spectacle, fiction, art, and images as supplements. How ever there are only so many visual languages and ideas to put into a painting. These visual languages are not so much imagined and produced from nothing like a magician pulling a rabbit out of a hat, as they are already there waiting for someone to formulate them. There are only so many ways to use paint to represent the world, and only so many ideas to base a painting on. We are exhausting painting, fiction, art, reflections, and all forms of supplementation. Eventually everything will be done. In The Supplementation Series these already done visual languages that are dead come back to life. It is like resurrecting a dead person, and when the different styles either juxtapose or merge it is like the dead person becomes someone else. The aura of styles already done return, but as something uncanny.