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.
We gravitate towards images of history that we don’t fully understand. These misunderstood images and forgotten histories are my interest. I often refer to history to question culture and society today by visually tapping into these universals of the past and present.
Just as we have an incomplete understanding of the past, I conceptually restrict myself to memory (incomplete and imperfect), and oil painting. Additionally, a symbolic language I created serves as a metaphor to reflect the complexity of understanding language itself. It also provides me a way to create imagery from memory and frees my imagination. It allows me to run into constant unpredictability and challenges. Overall, 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 and internet images. Rather, since 2000, I created and integrated with my work a symbolic language that is its’ foundation. 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 100+ 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.