Sometimes You Say Things Just to Say Things

10" x 12"

Acrylic on wood panel

(detail)
Untitled

16" x 24"

Acrylic on wood panel

(detail)
When, Then and Them

24" x 30"

Acrylic and tape on wood panel

This piece references "Prearranged Juncture". It goes back to talking about the different layers of my personal history. Each layer here represents some one very close to me. I used numerous stencils and stamp, including a Chinese chop, to create the various patterns.

(detail)
Prearranged Juncture

24" x 30"

Acrylic on wood panel

This piece represents layers of time. The numerous layers make the painting vibrate as a whole. The more time taken to view it the more the layers fuse together, making it more difficult to decipher between each layer. It introduces a personal history. The patterning allows me to control the manipulation of each layer, confronting the laws of past, present and future in a non-chronological manner.

PastryArt Show

Untitled

12"x24"

Acrylic on canvas

This piece was influenced by an Irish actress/model who yelled a lot and just had a lot of energy. I wanted to create illusions of different layers and picture planes, almost confusing the eye of where each one sits. I also am attracted to the balance of the shapes and how they are composed on the support.

Untitled

9"x12"

Acrylic on canvas

This painting was done from a photograph I took at Silver Spring, Fl. I was really attracted to the reflections of the trees and wanted to mimic that along with the camouflage of the gator's head. The only real indications that this is a reflection on water are the bubble ripples and the ripples around the head.

4"x"6

Acrylic on canvas

7"x10"

Acrylic on canvas

I was asked to describe a road. My ideal vision of any road. This is that road.

Lady with the Pink Poodle

4 18”x24” acrylic on canvas

Painting II 2010

These four pieces were done for our random identity assignment. We were to choose a person that we could have no contact with and do four paintings based on that person. I chose a lady that came into my work with a pink poodle. I was appalled that a person would actually dye their pets fur. In this process I became disgusted with pink paint and wanted the viewer to experience the same sickness. With that, the fourth piece expresses this disgusting aspect with cat hair down the middle.

Schooner

Monotype Print

13”x26”

Fall 2009

The background of this piece is a water color monotype print. The images were drawn on to get higher saturation of the lines whereas a monotype of the lines gave a “ghost quality” to the saturation.

Knot for a knot

12”x13”

Acrylic, wood burning on wood.

Spring 2010

The meaning of a wood support is based on a tree that gives life. However, this is negated when the image of the tree is made by burning into the surface, ultimately destroying the support. The knot in the tree was an actual know in the support.

Untitled

10”x30”

Acrylic on canvas

Spring 2010

Untitled

12”x20”

Acrylic, wood burning on wood.

Spring2010

In the Sight of Sound

Records, acrylic, nylon, steel.

20' x 15'

November 2009

The music world focuses its entertainment on the audible participation of its audience first and it's visual aspect second. For my Theory and Practice semester project I investigated the possibilities that musical instruments, records, cd, and other music related things could be as visually entertaining as well as audible. I am not focusing on any particular genre of music but the entire music world.

The Future You

Can tabs

20"x8"

December 2009

In this piece I am emphasizing on the pollution and waste in our world. I believe that we are building our nations on all the garbage that we uncaringly throw out. We are becoming the trash.

Blow

Ply wood and acrylic

4' high 3' wide

October 2009

Tornados are powerful elements that can change something in a matter of seconds. Blow represents that calm nature of things that can be completely turned around and destroyed in the blink of an eye. This tornado represents emotional and physical whirlwinds that are unpredictable and unavoidable.

Untitled

24"x30"

Acrylic wash on paper

December 2009

I am doing a series of figure studies without heads. In omitting the head I take away how this person is identified, and concentrate on the human body as a raw whole. We all have labels and stereotypes that take away from the fact that people are just human figures. The fact that there is no face disengages the viewer and forces them to focus solely on the body as form. Also removing the head is a way to ironically connect the viewer to think of what or who they are as a human figure.

The colored background fades from dark and light, opaque and transparent, and I did not use any traditional human figure colors. These bright colors not only flow outside of the figures but within them. The aim of this is to show the cohesive nature of the self and the natural state of existence. The fact that the body exits at all is because of a momentary cognitive recognition that a particular set of shapes suggests a figure.

Untitled

24"x30"

Acrylic on canvas

November 2009

In this piece I wanted to create a sense of awe in the viewer by painting a scene from memory. I visited this particular place in Virginia one winter and the moment I saw it I was overcome by a sensation I cannot even describe. The beauty of this place was like being hit in the face by train. Trying to explain this place to someone was near impossible. My goal was to show the viewer (instead of trying to say it) exactly what I remember from this place, and give them a tiny sample of how I experienced it.

SnapShot

Acrylic on canvas.

60"x 20"

October, 2009

SnapShot is a still life painting of my personal collection of cameras. I chose these cameras to show the progression of photographic technology over time. I also challenged myself in not allowing the use of black paint. Because the subject matter is mostly black and gray I used various colors and their compliments to create a larger variety of value without using black itself. I was very satisfied with the result of this piece. This piece was shown in my first gallery appearance at RCAD in Crossley Gallery October 16, 2009.