My current focus has become an internal process of tearing down and re-purposing my own existing art and in new ways, find a larger voice. There is an element of play and artistic freedom in dismantling these images and abstracting them into new organic constructions. I’ve found that in developing this process, every line revisited still holds a personal history and a memory. The results are perhaps best described as a form of visual chatter. A feeling not unlike entering a room full of people all talking at once. This process is a struggle between control and spontaneity. The streets downtown have a memory too. A history that I can dig into and gain inspiration from. That energy has a volume. My linear work is quite specific and sets the tone as an initial voice. However, I maintain a loose concept of where each piece might go. Multiple layers of colors add and subtract positive and negative shapes in an exchange of speed, cadence and volume equivalent
to the mood as it evolves.
Much like downtown Los Angeles, my work has a feeling of organized chaos. There is a rhythm within the composition the viewer can follow even though it seems totally random. Downtown is undergoing major changes on almost every level. At first glance, it may seem out of control, but there is an underlying rhythm to life here as well. The city never stops changing and it never will. Some of the best ways to blend the old and the new can be seen through its art. I want to connect the levels of distortion and emotion in scale directly with the idea of an audio volume. Large paintings within the confines of a gallery space increase the inescapable sense of motion and tension. From a distance, the less imposing work can easily be seen as one identifiable whole, but up close the viewing experience is much more fragmented and detailed. It is up to the viewer to decide just how involved they wish to become.