My painting’s visual language is culled from recollections of airports, homes, and construction sites. I render these industrial and domestic scenes in highly geometric planes and vivid colors. As the viewer is led through this complex maze, structures begin to assemble into familiar forms while simultaneously expanding and fragmenting. The inclusion of wallpaper patterns, in the form of actual antique samples and designs translated digitally onto asian paper, I reference specific interiors from personal history and more general experience. However, the wall surfaces are never allowed to remain whole. They fracture, split and fall away to reveal other chambers or the suggestion of an outside realm. I am fascinated by these liminal spaces as a metaphor for the fluidness of memory.
As the space in my recent paintings shifts from expansive exteriors to quiet but compressed interiors, I think of the poetics of the clerestory window, a very old and simple architectural element . The clerestory window allows the exterior to enter the interior while preserving the privacy of the interior space. The clerestory is a go-between, a split level full of light and air that filters the nature and condition of the world outside into the interior.