Over the past five years my work has inspired by
two separate yet seminal influences in my life: my present experience
of witnessing my citys transformation through rampant and
rapid building development, and Constructivism, a one-hundred-year-old
art and architectural movement that captured my imagination as
a socially conscious student. My recent work addresses the impact
of Seattles rapid growth, while staying rooted in the art
historical context of Constructivism, which rejects the idea of
art for arts sake and passionately believes that art, architecture,
and design can be employed consciously for positive social change,
or simply to serve and support the community. At the beginning
of the last century, like today, technological advances were embraced
and were believed to help promote a more positive future.
We are in a very similar cultural moment today to
the one the original Constructivists faced after the first World
War; we believe that technological advances will eventually create
a better world, but we are challenged by pervasive consumerism
and a focus on personal gain, often at the expense of our own
communities. In Seattle, our environment is constantly changing
architecturally and thus spatially, in dramatic ways. Landmarks
and other more modest historic structures are disappearing, so
we no longer have them as a touchstone for our own history, our
memories and our sense of cultural continuity.
The images in my drawings, paintings and animations,
in part, question how imagination, geometry and structure relate
to our physical, and cultural environment. How does rapid change
effect our sense of community and our sense of place? I develop
these ideas through mixed media works on paper, relief constructions
on panel and animated films.
The works on paper and construction images are created from photos
that I take of common materials such as wood, stone or brick surfaces
and then print these images on lightweight Japanese paper using
a large format Epson printer. Using a drawing as a framework,
and acrylic painting as the base, the wood or stone paper image
is then cut into shapes that form the structure of the image.
When the pandemic restrictions began in early 2020, I started
to make paintings whose images have evolved into geometric structures
filled with light and color. Over two years, I made twelve large,
expansive paintings and fourteen small paintings, that I could
immerse myself in, places invented to explore or inhabit and thus
escape from our small, restricted world,. Creating my own elsewhere,
I began each one by drawing dozens of small sketches.
Its been over two years since the pandemic
began and I continue to work on paintings and animations that
focus on imaginative environments, urban geometric structures.
I wonder why and how we create the structures that
we do; architectural, social, and political ones. How do the structures
we imagine and then build shape our lives.