The Watchpost, 2018. Oil on Canvas. 39x39in. Giclee Prints Available.
Painted on residency outside of Beijing, China in a small village surrounded by high mountains disappearing unto the Great Wall. China leads on surveillance and facial recognition technology, though I was surprised to its' extent. Even in this village of 400 residents, there were cameras on many street corners and a "telescreen" in the plaza across from the only general store. There is a growing duality to reality and a certain heaviness around it. From this placeI painted this painting, "The Watchpost." Battles for Peace adjacent work.
Cultivation Killed the Wildlife, 2017. 36x36 inches. Oil on Wood. Painted in Los Angeles and Beijing. Placed in Private Collection2018. Limited Edition Giclee Prints Available.
Battleship Yamato Sunk by U.S. Navy Planes, East China Sea 17 April 1945. 2016-17. Oil on Wood. 45X84 inches. Giclee Prints Available.
My recent series - Battles for Peace - explores the fragility of our comfort as the state of the world changes rapidly. Ideas of imminent or sudden destruction is becoming more present in our societies and psyche. I pull imagery from World War II photographs as well as seemingly untouched landscapes around the world. My commentary imagines that there is no more surface of this earth - no more open space - that is uncontrolled by industry or political domination. Perhaps, also including our own inner selves.
There's Oil Under the Arctic, 2017. 36X36 inches. Oil, Graphite on Wood. Giclee Prints Available.
Of Being in Nothingness #3, 2016. 48X36. Oil on Wood, with wood stain on the sides. Placed in Private Collection 2017. Giclee Prints Available.
About Of Being In Nothingness: These paintings are inspired by a few infrared photographs (of mine) as well as taken from memory. I was on top of a mountain south of Big Sur. It was a clear morning after a rainy day. We had hiked off the trail and camped in a clearing matted down by deers (presumably). The mountaintop we stood on put us at the same level as the clouds, and I could see the tops and bottoms with a dark line in between. I had never seen clouds at this perspective before. I aimed to paint these two images as a floating space in which to exist; a space with no ground and infinite sky. While on the same level as the clouds I could barely see the ocean below, and it looked as if the sky stretched in both directions.
Studies on Forgotten Space #2, 2015. 36X36 inches. oil, charcoal on wood. Placed in Private Collection2018. Limited Edition Cold Press Giclee Prints available
My recent series, Studies on Forgotten Spaces, also explores empty spaces expanding into the cerebral and the quest to find these inside our selves and in this world. I often imagine myself in these landscapes that stretch on forever. There is no wind, only fog and quiet. Even my own voice is blanketed by the circumstance of existence. This series is like forgotten memories, or lost childhood mental states - observant, nonjudgemental, curious about stillness and movement of time.
Studies on Forgotten Spaces #3, 2015. Oil and charcoal on canvas, 48X48 inches. Placed in Private Collection 2018. Giclee Prints Available
Studies on Forgotten Spaces #1, 2015. 36X36 in. Oil, charcoal, pastel on wood. Sold 2015 via Kickstarter as a fundraiser for Fjúk Residency, Húsavík, Iceland. Giclee Prints Available.
Fog, 2013. Oil + charcoal on canvas. 54X81 inches. Exhibited at Hatch Gallery, Oakland, CA. Placed in Private Collection 2016.
About FOG: This was the last canvas for [Lack of] Being and one that I worked over and over. Unlike most of the others this image was not premeditated and my vision formed as the painting progressed. The space it creates might seem ominous, but the forest is a place where I feel the most content. I grew up near the Appalachians - an ancient, lush, and nurturing setting. The woods were my exploratorium, and a source of imagination and inspiration. I would wander for hours not knowing where I was going, but never got lost; I always found a direction to go in and followed it whole-heartedly.
2117, 2013. 4X8ft. Oil, charcoal, pastel, graphite on paper on wood. Exhibited in Ceres Gallery, Chelsea NY. A continuation study on 'the unknown' and [Lack of] Being but with a futuristic intent. Placed in Private Collection 2015.
the unknown, 2013. 54X130 inches. Oil, charcoal, pastel, graphite, inkjet on canvas. Exhibited at Hatch Gallery, Oakland, CA. Unstretched. Placed in Private Collection 2016.
Immaterial Space #1, 2013. 3X3 ft. Oil on wood. Placed in Private Collection2014.
About Immaterial Space: Two of the first paintings when working on this idea. Meant to act as expansions of space into our mind’s immaterial or emotional realms. A surreal world with no grounding and the sky seeming to push downwards; a pressure without physicality.
Immaterial Space #2, 2013. 3X3 ft. Oil on Wood. Placed in Private Collection 2015.
Existent/Directional, 2013. 4.5X5.5 ft. Oil, Pastel, Charcoal, Graphite on Canvas. Unstretched. SOLD 2015.
Existential Waiting, 2013. Oil, ink, graphite, charcoal on canvas. Exhibited at Hatch Gallery as part of [Lack of] Being. Placed in Private Collection 2014.
AboutExistential Waiting: [Lack of] Being is about a personal defeat and a loss of self. It was created throughout my journey of re-establishing a grounding and sense of identity. This image symbolizes an emotional space when I was still looking for something from the outside to tell me what direction to take or where I belong. I was hoping for a sign or opportunity to place an anchor within my life. Again, there is a horizon line that extends infinitely, but is also infinitely unattainable. The imaginary landscape contains hard objects - black rocks of the same meaningless origin - that was inspired by desert landscapes along with those in Cui Xiuwen’s ‘Existential Emptiness’ series. The mailboxes are taken from a 35mm travel photograph stopping in Monroe, Utah.
Exit Series #1, 2012. Oil, charcoal on canvas. 7X10.5 feet. Exhibited in Lower Bottom Gallery as part of Drift Velocity.