My work uses
a largely appropriated iconography and humor to create imagery that questions
the limits and logic of visual narrative.
This imagery is at once transcendent and absurd, pointing out the
difficulty of parsing the miraculous from the merely irrational. It measures my own ambivalence towards
spirituality’s value in contemporary culture and attempts to critique past
efforts at visualizing the metaphysical.
Through a combination of graphic form, stylized imagery,
optically aggressive pattern, and a limited palette, I create purposefully
inconclusive narrative cartoons. I employ a mixed bag of borrowed mid-twentieth
century aesthetic conventions and combine them with spiritual symbols from much
earlier eras. Man-made and natural
images are often used opposite one another to amplify their differences. Symbols of inaccessibility and closed space
such as dense forests, fences and walls are paired with others implying access
and expanding space such as windows, clouds and smoke. These elements are never particular but
visually iconic and due to that iconic power can be modified to exhibit
additional and conflicting meanings.
The work can
be split into two groups: drawings made
with traditional materials that borrow visual conventions of the horror vacui
tradition and painting—either mixed with collage or made on untraditional
surfaces—that borrows from the 1960s Pop and Op art movements. Some imagery
functions as scenery and props for the staging of events that have already
occurred or will occur shortly. Other
images seemingly obstruct a viewer’s eyesight of the purported “real” subject
of the picture. The
dematerialization, concealing, and unexpected revealing of forms in the
pictures all become a metaphor not only for the supernatural but also the irony
of attempting its comprehension through inadequate human means.