I’m interested in the ongoing mutations of the individual and social unconscious, that which we observe and inhabit. Presently it’s a historical threshold marked by technology, viruses’, existential unrest, nature with human fingerprints, and ultimately the loss of our primal and biological connection to the earth. The ideology of humanity is dissolving, leaving behind a primeval quest for re-connection to something familiar, something raw, and real. Automatism plays an integral role within my practice. There’s a purpose to this process; however, no prior intention, elements from the subconscious transcend onto the paper or canvas, liberating what lies hidden.
I paint because I have to, it’s a part of me. It’s as if my work and unconscious reveal themselves in studied randomness. Upon reflection of a completed series, all the things laid buried and unaware to me are staring back, becoming corporeal images to critique. The unconscious divulges our deepest hurts and fears, our belief in symmetry and hope, as well as presenting and unearthing archetypal icons and symbolism, an integral part of being human. I find myself overwhelmed by beauty. I see it all around, in the smallest details, in the most obscure places, sounds, unexpected patterns that other people don’t seem to notice. My work unveils the tension of opposites, the inescapable duality of existence: love-hate, death-life, magnificent-grotesque, light-dark, but it’s also a pilgrimage into what lies between these polarities. When I look at my work at the end, I see, unexpectedly, the complexity of the human psyche, the internal screams of anguish, and the screams of piercing delicacy. And this is the space my art occupies. Jorge Luis Borges perfectly encapsulates: “Idealist doctrine has it that the verbs “to live” and “to dream” are at every point synonymous; for me, thousands upon thousands of appearances will pass into one.”