I was looking for more of a material connection than I had personally felt with paint and with the rectangular image. But in the moment, it felt really spontaneous. Thread solved a lot of the problems I had in painting–formally. That is also why I ran with it. It forced me to slow down.
At the core, I always seem to want to make an image that’s hard to look at but also locks you in...
Who would have guessed that a closet in a Greenpoint apartment would be a captivating way to show cutting-edge art, as well as bring together a supportive community of artists and art viewers?
I’d like to make work on a more detailed and sensory level. I came to Joshua Tree to live more intentionally and be able to experience my life as it happens rather than trying to catch up. I want to connect–I want people that look at my work to feel something transformative.
I felt that I was turning myself inside-out, turning white-to-black and vice versa held strong symbolic meaning psychologically. I started to dream about the paintings. They came alive and communicated to me why they needed to exist.
I like the contradiction of a really raw and simple material combined with these fragmented pieces. That’s how I see my life and people in general.
It comes from a dark place, but when I’m making it, it’s a way for me to process. I’m laughing as I’m making it, but I’m being half-serious too. I think for me, it’s more about anger, venting and satire.
I’m interested in making things that are perfectly imperfect.
Months went by and we came to get beer or something. B. Thom asked to use the bathroom not knowing where it was. He opened the secret hatch, then came down here.