The driving force behind my work is striving to inhabit the unknown during the creation process. Each time I place my brush on the canvas I deflect my desire to make something. This approach is important to me because I wish for my art to become a vessel for something new to come forth, unbeknownst to me, that gives us a better understanding of the nature of reality and the times in which we live.

The work FINITE is an example of how I put this approach into practice. First, by picking a small brush stroke, large canvas, and monochromatic color, I attempted to set the stage that allowed for an infinite number of possibilities. As I worked, I observed my mind constantly striving to make connections, to put sets of dots into patterns, images, and forms . I resisted these connections to be made and placed my next dot in a random location. I worked in this way every day for four months. Once I began running out of negative space two things happened.: (1) like calculus, I began to discover finite points that came into existence only out of everything else around them, and (2) like modern physics, out of all the randomly placed dots a natural order that was constantly moving and harmonious came into being. When looking at FINITE I am reminded of a snow storm where each individual snow flake’s trajectory is random, but the overall scenery of a snow storm is perfectly harmonious. And just like a snow storm, FINITE is something that would be very challenging to reproduce no matter how skilled the technician. The unknown random placement of dots came together at the end to create an altogether original gestalt.

The same methodology of uncovering a form vs. placing something onto a canvas can be seen in the i-Wire series. i-Wire consists of a collections of small paintings directly applied to the New York Times newspaper. I began reading the newspaper from an artist’s perspective in that I looked at everything as a form and stopped reading meaning into words, headlines, and pictures. I applied paint to cancel out everything that had meaning to see if underlying themes were happening in our cultural consciousness. I discovered that my method of canceling meaning and working against the gradient of the human mind to draw conclusions allowed for new original forms, images, and even content to emerge in the painting.

I hope my artwork reflects my desire to reside in the unknown as an artistic method to create original work that offers us a deeper understanding of the human mind and our cultural moment.