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Statement of Work I like to think of my work as an interactive tour of my head, a sampling of the many directions I’ve traveled as an artist lately. I find it hard to stand still, and even harder to find something to focus on for any extended period of time, so I just let the mind go where it wants, and the work follows. Generally I stick to three basic themes: detached symbolism and interconnectedness, my own fascination with crows and their psychological impact on me, and the inner workings of the people I surround myself with and the chemistry between them. With all that in mind, though, it never really feels complete until the viewer comes into the picture. Seems to be a trend lately with artists knocking you over the head with their agenda or specific ideas; I was there once, too. Recently, though, I discovered the power of leaving my concepts a bit more on the vague side—reveal just enough to get the curiosity going, and get a mix of interpretations from the viewers. I’m fascinated with the fact that you can stick a painting up in a room with 20 people, and 4 will walk past, 6 will tell you they like it or scoff, and the other 10 will hit you up with 10 wildly different ideas about the work. It’s that sense of pragmatism if you will, the diversity of interpretation, and the start of those conversations that keeps me going. The things that catch my eye and the forces that drive me are all over the place—but that’s who I am, and that’s the work. |