My paintings begin not in the digital or the physical but in the mix our minds make of the two.
The aesthetic components of my work recognize the influence of technology on post-modern existence. I deconstruct the image through abstraction using faceted surfaces (similar to low polygon video game art) to create something new, from something old and make it new again. I present the influence of post-digital imagery on our shared brain circuitry through my work. My experience working in Visual Effects, Video Games and Animation inspires the “peak shift” palette, faceted surface and idiosyncratic portrayal through paint. My visual language, which I call “figurative abstraction” signifies modern culture in a post-war technological society of fractured communication.
I use geometric shapes and a vibrant palette to critique our culture thriving on scattered and amplified visualizations of humanity. Abstraction of the form creates a concentrated effort of gesture and simplicity similar to a text or emoji on your smartphone. The simplification focuses on what makes each of us unique when it comes to portraiture and iconic pop culture. Today, communication and human interaction have condensed into a shorthand of disjointed emails and texts instead of face to face conversations. This post-digital reality emphasizes iconic gestures and emotion over likeness. Similarly, in my paintings, gesture, and body language cement into an archetypal language beyond realistic representation. Through a splintered perspective of humanity, I discover the original signature of human identity.
In the end, my subjects are an analysis into the nature of shifting relationships with digital technologies and art forms. Maintaining one foot in the past and another in the future, I call into question how we perceive art and images by tracing a loop historically through representation, technology, and science. I paint my subjects as an existential complication and one that is ever changing and evolving.