Through my practice, I demonstrate reverence for the creative process by emphasizing the raw materials and detritus involved in creation. While they might appear non-representational, the bulk of my body of work is a representation, an exploration, of the main byproduct of my paintings —my paint rags. Saving and painting my paint rags (the pieces of cloth I use to wipe my brushes) has become intrinsic to my practice. In keeping, studying, and giving them new life as paintings, I elevate what is otherwise trash to the level of sacred.
After experiencing trauma at multiple stages of life, my ability to to process those feelings has slowed, and even halted. Strung together, their effect is simultaneously intensified — through events, situations, words, emotions, feelings — absorbing life and deciding what it means to me is an acute effort. This emotional backlog and delayed processing time feels as though it hinders my personal growth, but painting is a source of relief. As a physical act, it is a conduit for comprehension — through which I have the time and space I need to understand my self. Sense of self and spirituality are rooted in my painting practice, and it follows that the practice itself is my subject matter and focus.
My work engages with the incidental quality of creation, physicality, and the spiritual imbuement of objects. My emotional processing time is directly reflective of time spent on a painting. Thoughts that were once obsessive and introspective, take new form, becoming the cycle of my painting process.