There are times, when thinking about all the possible paintings and drawings that could be made, the boundless permutations, I feel like the volume in my brain gets turned on to full. I see painfully bright colors on the insides of my eyes flashing by at increasing speeds. Forms emerge only to mutate, spiral, merge, destabilize and collapse back into the maelstrom. My studio practice is motivated by a fascination with the infinite possibility of visual abstraction, both as a theoretical, relational structure and as a means to explore metabolic growth and entropy through process. For me, painting is not exhausted, its history is just a grain of sand on the beach, and its potential is as wide open as the expanding universe.
As reference for my abstract painting and drawing practice I've been doing research into complex or non-linear systems of order and their various manifestations, both observable and theoretical. I'm particularly interested in chaos theory, quantum physics, post-structuralism, weather patterns and organic forms such as trees, fungus and cellular structures. I see abstraction as model for simulation, capable of metaphor and paradox, in which many different structures and ideas could be inputted and compared, bringing out underlying truths. Ultimately though, those forms I'm specifically interested in have an intrinsic relationship to my innate painterly sense of mark-making and the purpose behind the whole process of abstraction is media experimentation and the act of creation.
However, I've also come to realize that the work I produce is more than just a result of an intellectual fascination with complexity and infinite possibility, but is in itself an attempt at a representation of the maelstrom in the mind, or the 3-dimensional thought process involved in thinking about painting and all the paintings that could potentially be made.
ARTIST STATEMENT, 2010