Current
Transcendental and Beyond
7.1.2024 - 10.31.2024 with Agnes Martin and Agnes Pelton, and other legends of spiritual abstraction at Addison Rowe Gallery, Santa Fe, NM.
Nous, Psyche, Cosmos 60x42in, oil on canvas, 2024.
Big Bounce
9.4.2024 - 10.13.2024 at Latchkey Gallery’s “Apartment”
Ekpyrosis 50x50in, oil on canvas, 2023.
Big Bounce: “In the cyclic and ekpyrotic models of the cosmos, the universe begins with a Big Bang. Its matter and energy undergo entropy, form into structures, and then collapse upon themselves to be reborn. This is the Big Bounce. In these works, numbers are given chromatic value and sequenced into a pattern stanza that continues from painting to painting. It is a chaotic pattern, still in its first cell of repetition, yet to repeat. Eventually, the point of origin will recur, and the sequence will play out again.
Math is a search for regularities in numbers and nature. Its translation into images gives us the ability to fathom the reality we occupy—our origins, the scales of time and space—and in this matrix of pseudo-understanding, we find meaning.”
Upcoming
CT State’s Gateway Gallery with Cat Balco - October 2024
Untitled Miami - December 2024
About my Work: My paintings are diagrammatic color games, a study of evolving systems at the intersection of order and cacophony. I draw from geometries of the color wheel, infusing color with the poetics of math as a language for understanding reality. Numbers, both random and algorithmic, are the infrastructure of each painting. Ongoing stratified number sequences, randomization processes, prime number sieves, and logical geometries all tie numbers to colors. These systems are consistent by nature, but their visual outcomes are unexpected.
Color is defined by change and unpredictability. Each instance of color is radically shifted by its surroundings. Physiological adjustment changes the experience of color through time. Color theory mechanics generate vibrating fields of simultaneous contrast. The eye fuses particulate colors at a distance to form the impression of new colors. With the ongoing development of pigments, optical and physical mixtures evolve through time, so the foundation of color theory itself is always shifting and changing.
My hearing loss has affixed a linguistic aspect to color. Ubiquitous colors (red, yellow, blue) don’t have to be physically experienced to be cognitively summoned. When these identities are buttressed by pattern, a painting becomes a predictive system, a map. Patterns filtered through disintegrating algorithms are like utterances with missing information, requiring predictive maps to synthesize noise into meaning. Colors behave like packets of sound, as systems create the legible image. When missing information collapses pattern into glitch, the visual field oscillates between recognition and chaos.
Geometry has long been employed to facilitate spiritual experiences. It augments visions of deeper meaning in reality, while subverting damaging iconographies that enable violent hierarchy and false division. It fuses the mathematical wonder of cosmology, time, particle behavior, with the intimate and psychological. Suspending judgment, while playing with the forms of math and logic, observing color’s instability and the limits of language, is alchemical and transformative.