My work engages with how we assess language and information. I’m interested in how we seek patterns, symbols, and relationships to predict behavior, choose and to remember.
I often refer to history to question culture and society today; and through the constraints of paint, the work brings together elements of representation and abstraction. I wish to create imagery that is artificial and unexpected yet feels familiar and convincing.
Process when working with representation and figuration: I choose not to use direct reference; this includes photos, internet image searches and what I may see in the visual social media world. Rather, since 2000, I created a language that is at the foundation of my work. It’s a metaphor that reflects the complexity of understanding language itself, and provides me a way to create imagery from memory. This frees my imagination and allows me to run into constant unpredictability and challenges. Much of my work integrates an artificial symbolic language system I created. The language itself allows one to visually ‘speak in color’ and where ‘color has sound’. It is based on algebraic chess notation (a-h and 1-8), the musical notes of a-g, and a combination of the Spanish and English languages (see Phonetic Trilogy: Part 1). In addition, I’ve kept a series of 99+ notebooks that I use as my reference for ongoing work. These elements are key, to perhaps, come up with worlds I have yet to see.