the void as form.

the void as an illustration of the self.

Emptiness as metaphor for self-loathing is not new. It is perhaps the main through-line in my work/state of existence. (As it is for so many others throughout history, putting me in numerous if not esteemed company.) But it is novel to contemplate it as object as opposed to concept.

notetaking as a means of conversation

Conversation as a means of artmaking.

Passing notes as conversation. The original text message.

note | idea | inspiration | communique | inspiration


Handwriting is key as it forms another line/element. It is visual language made text. It forms the basis of the ephemera of art. Art as written word that leads to a non-text which struggles [and fails] to impart meaning/self out into the howling void.

The struggle to acknowledge our existence comes from the hands.

layers and piles.

Marvel Cinematic Universe

Because I hate myself, I decided to rank the flicks:

  1. Guardians of the Galaxy
  2. Thor: Ragnarok
  3. Ant-Man
  4. Captain America: Civil War
  5. Guardians of the Galaxy Vol. 2
  6. Black Panther
  7. Iron Man
  8. The Avengers
  9. Captain America: The First Avenger
  10. Spider Man: Homecoming
  11. Iron Man 2
  12. Captain America: The Winter Soldier
  13. Thor
  14. Avengers Infinity War
  15. Doctor Strange
  16. Iron man 3
  17. Avengers Age of Ultron
  18. Thor: The Darkworld
  19. The Incredible Hulk

I guess I like the funny ones best.


Sometimes the studio can be such a space of weirdness and anxiety. Hours working and reworking paintings and drawings by yourself and not being quite sure if anything you are doing is good.

But we go back. And do it over and over again.

Pattern Clash


Last week I had a studio critique with my amazing studio mate, Ashley. We looked at and talked about our work, and generally offered support and encouragement. I looked at her new series of portraiture that combines photographically based images mixed with linearly drawn accessories such as tiaras and necklaces. We also looked at my new pieces that are combining (awkwardly) taped off lines, diagonals, and spray paint.

If you don’t have someone to speak to about your work, I encourage you to rectify that situation forthwith.

One of the topics we fell upon was the idea of how pattern clash, a term mostly used in the fashion world, seems to have crept into art and particularly our art. The idea that we are forcing disparate elements into our work, and putting them together in combinations that may seem shocking and disconcerting, seems to almost be one of the main driving factors in our work.

It was something I hadn’t quite thought about in my newer paintings, but it definitely exists in the work. I find myself partitioning the canvas into areas based upon the text, and then approaching those spaces as independent of each other. This leads to the notion of pattern clash in the work. And it is something that I hadn’t put into words until the critique.

As I had never considered this particular aspect of my work I struggled to find a way that this fits within the zeitgeist. As I stammered, Ashley made the connection with the socio-political climate today. Everything seems so divided, and perhaps even broken, that it is not such a strange idea that we find ourselves falling apart as well. Perhaps the broken spaces of my canvases reflect the broken politics of my two countries, the broken identity I feel within the culture, and the fears I have as I try and raise a child in these times. I had spent so much time thinking about the philosophical ramifications and explorations that I partake in when making these works that I have ignored the underlying anxiety I find in the world. No matter how much I attempt to avoid the news and ignore the uglier sides of our cultural discourse (and believe me I have tried VERY hard to ignore everything after we elected a clown to the highest office in the world) it has seeped into my conscience (or perhaps sub-conscience?) and into my moods and into my work.

So beyond the musings on the rhizome, and meanings found in and around terminologies of text and paint, I will have to maybe consider the breakdown of unity in my current work. I will have to let my movement towards new paints and processes continue and trust that the visual incongruity that I am producing is valid. I will continue to let the sprayed paint and strange color combinations to layer up and up, while I let other spaces remain sparse and empty. These new spaces are frightening to me, but maybe they are just reflecting my underlying fear.

Work in Progress