Overture

The bewildering aporias that arise in knowledge, reality, and understanding along with the recursive mimicry within digital spheres contributes to an aura of dissonance explored in my paintings. There’s a doppelganger effect and metaphoric quality to words and images that coincide with the imposter—copying, simulation, simulacra, and the reiterating of information that concocts an appearance of validity yet is nothing but its shadow. That duplicitous condition that presses reality's datum through a sieve for a truth essence it uses as a stave; upon which, it attaches a shrieking cacophony of nationalistic notes. This is our hymn. It is the theme song to my work.

Artist Statement

As metaverse and reality collide, new meaning forms infiltrate our spaces armed with a lexicon of fragments. Fragments recursively reconstructing our existence as a domain subjugated by bits. A rereality of doppelgangers and ersatz forms invited inward via the device. Probing this verse through scatter and fracture, my work wields its anterior language—history’s most prolific form of propagandistic artifice. While technology is vital to my process and subject, surface reticulations through paint handling intertwine formal and conceptual concerns forming constructs of alterity. Constructs interrogating reality collisions through an infusion of personal figurative images enmeshed with advertising emblems, identity, and other cultural insertions.

Current Trajectory

Space Invaders is the current expression of these concerns in a body of work where imaginative plots and the McDonald's crew reemerge as celebrity signifiers; while ideology, technology, and cultural tensions become hostile invaders. The ongoing vilification of immigrants are frictions that envelop my multiracial and multicultural family. In response, ideological assaults are anthropomorphized into storied collages that mine messages from our fragmented digital world, transforming them into varied trajectories and angles of perspective. Quantum physics yields metaphoric support; while identity, absurdity, and nostalgia are ferment for manufactured conflict. The formal and conceptual method of constructing the artificial painted object directly links to the artificial humanistic constructions of nationalism, racism, and ethnocentrism. Constructions altered in recent history that now jeopardize the egalitarian existences for families of diversity. These concerns manifest via spatial insertions, painting forms, and binary hatches. Hatches that suffuse into microcosms of hue and value revealing vibrant glints of versicolor—the same luculent tones within all people that exist in, on, and underneath the tissue thin layer associated with race. Thus, Space Invaders amalgamates figurative subjects, spectacle, and metaverse milieu with consumerism, political vicinities, and corporate antagonism; yielding an invasion of these cultural conditions into our most private spaces.