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Printmaking
Faculty
My classical training in music has allowed me to incorporate the structural aspects of sound (rhythm, tonality, and timbre) into visual components of composition. Late abstract expressionism and artists such as Jean Michael Basquiat, Robert Rauschenberg, and Roy Lichtenstein have inspired me and played a significant role in the development of my aesthetics. The graphic qualities of advertisement, graffiti, and pop art are also strong influences.
I have most recently incorporated the idea of accusation as a textual element in my work. Through the use of text, I hope to stimulate a dialog between the viewer and the piece itself. As the text is read, its audio and contextual properties interact with the abstracted layers of color, pattern, and texture within each field, thus creating more stimulation for the viewer. Book forms are also conducive to stimulation due to their interactive qualities. Through the combination of print and book, the visual and tangible elements compliment and play off of one another in a three-dimensional form.
Chance plays an important role in my creative process. I strongly relate to the concept and process of the dada movement. By not allowing myself to have full control over some acts of process, my work possesses a quality of activity, movement, and energy.
I have explored the processes of intaglio, relief, serigraphy, book arts, and most recently lithography. I use these techniques in combination with various monoprinting processes in order to cerate one-of-a-kinds or variable editions. I feel that I have barely touched the top of the iceberg regarding process.
By being somewhat vague, open ended, and even confusing with text of the work in the exhibit, I leave the full interpretation of the instruction up to the viewer- the one quintessential element of my entire work that I do not personally create. This stimulation of the thought process of the viewer’s is what I strive to receive. I crave response, whether negative or positive. These pieces embrace my infatuation of subdivision and my instinctual methods of mark making. The chaotic layered fields of pattern, color, and texture in combination with text and recognizable icons of my visual vocabulary will hopefully invoke the viewer and thus complete my work as a whole.