The way in which my work can best be introduced is by proposing a certain way of looking, rather than describing formally how it manifests. To get the necessary formalities out of the way it is fair to say that drawing, sculpture and painting are the main disciplines I am concerned with.
What is more important is the way in which I approach these disciplines.
Momentum, a looseness in style and and medium, and an idiosyncratic outlook on the world cause my work to shift, change and juxtapose itself showing an expansive range of influxes. My practice can be seen as an ever-growing database of unfiltered, rarely specified but broadly oriented artistic output. It is research expanding into the width of my media, rather than narrowing down this field by specializing.
One of the only rules to what I do is keeping a habit of producing work no matter the circumstance or situation: if my hands and my mind are free, they will produce work. A looseness in medium is therefore essential in allowing me to be impromptu and keep a steady stream of production. The result is something that is fluid, multi-interpretable, and honest in its lack of direction or filter. It proposes art as a form of play, as a way to contextualize life and make sense out of it through constant response to it.
This brings me back to how a way of looking is essential to the work. Habits of searching beyond the visual to find clues about a certain meaning or intention should be reconsidered as it often skips the actual looking. The meaning of a song is not dictated by its lyrics, but has to be heard to be understood and interpreted. my works operate similarly. They do not ask for a verbal translation but stand on their own as a visual impulses.
Approach it like you would a playlist on shuffle, you can skip, browse and be surprised by what happens when seemingly unrelated songs create new meaning when sequenced.
