I am predominantly concerned with creating an illusory type of cinematic
narrative- one that follows an experience of isolation, loss of identity,
and alienated labor in the face of contemporary anxiety and discarded
utopian ideals- that follows the gradual loss of selfhood within an
environment filled with the monotony of rules, repetition, and
subordination. In the end, the images exist somewhere between realism &
delusion, mixing filth and gentle surfaces, visually rejecting the
structural principles at the heart of the concrete world in order to create
a picture of a world half awake, half asleep, in between.

The landscapes are, at first glance, relatively serene settings- filled with
the fluff of cumulous clouds, calm seas, and lush vegetation. These
unassuming idyllic landscapes intentionally seethe with violence, and they
are as much a venture into a dream itself as they are, to some extent,
repulsive. The human form is absent, giving a sensation that the viewer has
stumbled upon a curiously forgotten antiquated world, and by removing that
presence, the work becomes charged with a certain intangible energy and is
able to convey some of the sense of the way in which our big, bland, dense
world can slowly become invisible. The process of depiction itself causes
that time collapse and loss of visibility.

The images included here do not exist in any one specific medium. Each
element is individually rendered with layers of color using techniques
inherited from conventional drawing and painting, as well as lighting and
visual effects suggestive of photography. The pieces are woven together to
create unified spaces that resemble cinematic still frames. The process of
creating the final picture is a process of doubly, triply, and more,
removing the images from where they began. Most elements are specifically
sought out and researched, and begin with a pencil drawing which is
duplicated and manipulated several times before finally being colored with
acrylic; while others are photographed and then painted over. The importance
of this method, beyond basic compositing and manipulation, exists in its
ability to create its own unique access into the aesthetic of multiple
worlds and imaginary ontologies. It is rich enough to blend an atmosphere of
barrenness with a hallucinatory realism to make something that feels like a
modern antique with the photographic quality of memory.