While generating my work, I process information concerning my physical
and mental actions through my mind. At the same point I keep working
infinitely during time as a result of never appearing to stop thinking.
Even at a time of repose the fact that I seem to ponder I am receiving
no information which proves that I truly am existing in the system around
My physical and metaphysical forms give birth to relations between the
two; as a result my individual voice is created (my life). This constant
flow of life pushes me to work with the language of art as it exists
in current society, to create a connection between many voices (people),
as we seem to head closer to globalization of society. I look to the
language of art to help dictate my actions in relation to the perceivable
field of the senses.
Decisions on what medium I work in has a direct relation in my body
of work. In all my projects I play with dualities within the semiotics
of language to address questions of life and death. The philosophy of
my work however is not so clear on one level for I feel there to be
numerous levels to any question. I ask my viewer to absorb information
enabling me to somehow speak to them in the visual form of art.
Material is a very strong issue in my projects. Metal, wood, dirt, grass,
flies, bug spray, light bulbs, paint, grease, plastic, newspapers, bodies,
sound, touch . . . all mix together to mentally and visually compose
a system of knowledge. I use some materials loaded with history while
playing off other materials that are not metaphorically charged. The
language of art grants me this privilege of speaking to the world. A
matrix is composed and decomposed while being supported physically and
mentally by one concrete environment.
My hanging flesh paintings socialize with the floor they were created
on, simultaneously as the two of them formulate their own space. The
space is at first closed to the viewer, with a voyeuristic feel to it.
Although, by hanging paintings off the wall I send a sign that this
is open for whoever wants to investigate. The information is stripped
away leaving only the meat of the question for people to absorb. Many
images are overlapped absolving the semantics of the facts. By toiling
with these issues the self is accepted and rejected as the focal point
of this piece.
I play with the notion of what is art and how does art relate to its
anima. For most people art can be anything tangible within its own system,
but there must be more. I ask the question what is painting, sculpture,
installation . . . and so on. The list of signifiers could go on for
as long as we attempt to define art. There is no beginning and there
will be only one end to these projects, everything else is transition.