We as a humans are builders by nature, and as such we fight against destruction. We attempt to stop the natural cycle degrading our monuments of human endeavor. We attempt to stop the breaking down of our edifices so as to keep in contact with our past. The monuments that we build are the physical and philosophical structures of industry that make up the whole history of human advancement. These monuments represent the physical manifestations of our past and present.
The automobile defines a large part of the narrative. It is the most sought after luxury item, while also being the instrument that represents our physical wants and needs. It is a human monument that has allowed the outside world to be smaller and yet it has separated us from each other.
In the monuments I’m painting, I’m explaining the rust and languishing of once used objects and imperfection. I’m turning the common narrative from aesthetic perfection and newness, to imperfection and the absence of the new. In essence I aim to illuminate the desires of “de luxe” to my esthetic preferences of “sans luxe”.
In oxidizing the forms in my paintings I’m dealing with the expectation of both what’s beautiful and what is appealing into an ethos of my own esthetic - the esthetic of the “rustzilla” and the “salvage”. It’s an esthetic that finds beauty and use in discarded and rusting monuments. My work portrays a less strict idea of classic formalism. It is representational in its way of personifying a thing, but relies on the form to illuminate a basic departure from it. It is a departure that allows for slight abstractions and interpretations from the pieces original design.
This transition from new to old, from object to thing and vise versa, has given me the belief that the fluctuations of the world are transcendent, that the Universe is in a constant state of degradation, expansion, retraction and emersion.
My work has led me to an understanding of the human difficulties time and nature play on our man made world, which has allowed me a window into the natural cycle of the universe.
The automobile defines a large part of the narrative. It is the most sought after luxury item, while also being the instrument that represents our physical wants and needs. It is a human monument that has allowed the outside world to be smaller and yet it has separated us from each other.
In the monuments I’m painting, I’m explaining the rust and languishing of once used objects and imperfection. I’m turning the common narrative from aesthetic perfection and newness, to imperfection and the absence of the new. In essence I aim to illuminate the desires of “de luxe” to my esthetic preferences of “sans luxe”.
In oxidizing the forms in my paintings I’m dealing with the expectation of both what’s beautiful and what is appealing into an ethos of my own esthetic - the esthetic of the “rustzilla” and the “salvage”. It’s an esthetic that finds beauty and use in discarded and rusting monuments. My work portrays a less strict idea of classic formalism. It is representational in its way of personifying a thing, but relies on the form to illuminate a basic departure from it. It is a departure that allows for slight abstractions and interpretations from the pieces original design.
This transition from new to old, from object to thing and vise versa, has given me the belief that the fluctuations of the world are transcendent, that the Universe is in a constant state of degradation, expansion, retraction and emersion.
My work has led me to an understanding of the human difficulties time and nature play on our man made world, which has allowed me a window into the natural cycle of the universe.
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