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Drawing interest from a post apocalyptic concept, my large- scale paintings provide a slow-motion glimpse of the time after. They specifically embody the moments or millennia post- event. By omitting the climax and freezing the aftermath, they examine the settling quality, the reassertion of Gravity, and a time unbound by human perception. The chosen vantage point indicates an observer’s overview, a semi- distant participant at the epicenter.
Here, the medium of watercolor is abused and recast to capture the abyssal plain of oblivion; a purgatory landscape littered with carcasses of forgotten archetypes, extinct animals, and lost histories. I excavate these forms from the accumulated layers of paint; they are the free associations I make from the remnants of the previously destroyed paintings underneath. The resulting exploration produces residual color and dense atmosphere that are the by-products of this search, a process of wet erasures and heavy over-painting.
I find inspiration in history and science, such as the fossil record, cosmology, epics and sonar. Influential to my art making and imagery are my childhood experiences of fossil hunting and exploring along Seneca Lake and time spent in the Bolivian Andes and altiplano, my mother’s home country. Through these painted vistas I attempt to see deep time in both directions and use the subconscious to visualize this space.