A common thread connecting the separate but related groups of paintings and constructions is my obsession with the spatial and temporal disjunctions that we are experiencing in our rapidly changing world. To that end, I deploy what I describe as diagrammatic metaphors that visualize ongoing processes of movement and transformation.
One of those groups is the Toppling series where I present visual analogs of the profound disequilibrium we are currently experiencing both privately and institutionally. All that we assumed to be stable and predictable has been revealed to be otherwise. I liken each artwork to a freeze-frame of a film sequence at the precise inflection point when a building, a body, a psyche, or a society begins to succumb to gravity.
The Dys/Junctures series extends my long running fascination with discontinuities, disruptions, and detours. These hybrid paintings/constructions are composed of multiple and decidedly skewed and misaligned panels made of MDF board, Plexiglass or a combination of both.
Also, the Never the Same Space Twice series addresses discontinuities, disruptions, and detours by way of an abstract geometric visual language that call to mind hybrid topological route maps and flow charts.
The Jump Cut series, borrowing from a cinematic term, offers an apt correlative to the kinds of spatial/temporal disjunctions we often experience in our hyper networked and accelerated lifeworld. Deploying a geometric syntax of nested and overlapping frames, I am interested in how these disrupted sequences evoke a sense of space/time that is highly elastic and ambiguous.