I have been drawing since I was a little kid. I used to follow my parents around museums and made rudimentary copies of old masters. I used to watch my father draw and I discovered early on the doorway to parallel worlds scrawled into notebooks. Drawing saved me from the worst of teenage angst and served as a way forward when it seemed there was none. After graduate school I quit painting for a few years and focused only on drawing. It was my way of finding my voice lost in a chorus of theory and well meaning advice.
When I’m at my best, my work skates along the crumbly edge between “real” and the imagined, the edge between the pleasure and burden of the body and the lightness of dreams and nightmares.
I believe in being badly proficient and I am interested in exploring different styles and iconography. This corresponds to the sense of play in my imagery.
I see humanity with existentialist eyes. It is because life is ridiculous that there is hope.
My work is both autobiographical and fantastic. The distilled message has to do with how memory influences the paths we find ourselves upon. They are about the touching of healing scars and preparations for a journey.