We upload 4000 pictures to the Internet per second. These pictures become a document defining a timeline. With the luxury obtained from devices and cameras, we have novel understanding of the repercussions of this record, or more precisely, we have less awareness and more expectation.
Reliance on this habit may lead to familiarity of modernity, or a psychological blind spot. However, in order to understand a thing’s relevance, we need its adverse or adjacent-other to compare it to. But what is the idea or subject we use to compare our present situation?
It is this uncertainty I wish to explore through my painting. Interweaving aspects of the historical and digital, highlighting our interaction with photography and its evolution, I try to better understand photography’s relevance.
My process is specific: echoing a machine, I use only four colors: cyan, magenta, yellow and black. In this scheme, the black layer stands in for a grisaille underpainting. The painting develops in the same manner as a print. I layer the colors in an additive process, allowing for progress in only one direction. The finished product hangs like a movie screen, swaying slightly when a person walks by.
Referencing nostalgic aspects from the past while pointing to current trends, I create particular frequencies within the work. I intend that this oscillation be a liberation from ideological naivety or cynicism. My themes reside in this flux in order to understand how the photo functions as cultural memory.
Real Men, The Mandarin Oriental, Miami FL, curated by Brooke Shields & David Kratz
MEASURES, The Art Vacancy, Brooklyn, NY, curated by Sáng Huynh & Lindsey Puccio
Little But Fierce, Chashama + AANYAA, New York, NY, curated by Cameron Ledy
Painting the Figure Now, Wausau Museum of Contemporary Art, Wis. co-curated by Didi Menendez & Walt Morton
New York Academy of Art Twelfth Annual Summer Exhibition, Flowers Gallery New York, NY curated by Matthew Flowers, Nicole Berry, Alice Gray Stites, Ambre Kelly, & Richard Vine
The Other Art Fair, Brooklyn Expo Center, curated by Rebecca Wilson, Maria Brito, Ashley Stewart, Jessamyn Fiore, Emily Steer & Amber Harper
Single Fare 4 at Highline Stages, New York, curated by Michael Kagan & Jean-Pierre Roy
Transaction In #Selfie Project, New York curated by Leni Smoragdova
The Figure: Interpreted Through Contemporary Mediums, Site:Brooklyn Gallery, NY, curated by Barbara A. MacAdam
PICTURING THE UNPRINTABLE, Flux Factory, Queens, NY
Young Associates Show, Chelsea Art Museum, New York, NY, curated by Gordon Austin
TEAMWORK, Allan Nederpelt Fine Arts International, Brooklyn, NY, curated by Eva K Schmidt
New York Academy of Art Summer Exhibition, New York, NY curated by Anne Strauss Eric Fischl, & Matthew Flowers
New York Academy of Art Summer Exhibition, New York, NY curated by Jenny Saville Vincent Desiderio, & Eric Fischl
PoetsArtists Magazine, Painting the Figure NOW, Issue 95, July 2018, curated by Walt Morton
A5 Portfolio #14 (May 2018)
Average Art Magazine #21 (Apr 2018)
Contemporary Visual Art Zine #6 The Body (Feb 2018)
Wotisart? Magazine #10 (Jan 2018)
A5 Portfolio #10 (Jan 2018)
BuzzFeed.com - 100 Artist Studios (Dec 2017)
A5 Portfolio #9 (Dec 2017)
Wotisart? Magazine #9 (Dec 2017)
BuzzFeed.com - 100 Facebook Portraits (Nov 2017)
A5 Portfolio #7 (Oct 2017)
Wotisart? Magazine #7 (Oct 2017)
Average Art Magazine #15 (Oct 2017)
BuzzFeed.com - Art Periods And Contemporary Art (Oct 2017)
Create! Magazine IV (Sep 2017)
Average Art Magazine #14 (Sep 2017)
Average Art Magazine #12 (July 2017)
Wotisart? Magazine #4 (July 2017)
A5 Portfolio #4 (July 2017)
PoetsArtists Magazine, The New Nude, Issue 86, July 2017, curated by Walt Morton.
PoetsArtists Magazine, The Portrait, Issue 83, April 2017, curated by Lorena Kloosterboer.
The Clearing House, Grace Building, New York, NY
Darren Woods, CEO ExxonMobil
various private collections