My work is influenced by my interests in various styles of design and graphic imagery relating to genres such as 8-bit computer graphics, mystic/religious symmetry, underground electronic music culture, and my ideas about parallel universes, and electronic beings/entities. While some of my earlier work was more about experimentation and satire, the newer work entertains ideas on the coexistence of simplicity and complexity in patterns reproduced across all levels of the cosmos. The aesthetic language of the work acts as an evolving dialect, translating visual pleasure, fantasy, free association, and meta iconic history.
I am interested in exploring the dimensions of space and time that act as a barrier between consciousness and pure enlightenment, how memory acts as a variable in the process of physical and sonic evolution, and where and when the future exists.
The work questions the value of digital, versus physical. Speaking with an electronically influenced vocabulary of geometrically and abstractly based shapes, the designs and colors seem to present imagery as undefined icons, landscapes, and patterns. Most of the work leans towards a more graphic look, while maintaining somewhat of an undefined message; an identifiable symbol of sorts: a smoke sign with an unclear meaning.
The colors in most of my work also use the Day-Glo or neon saturation vocabulary, which is art-historically seen as less-natural and non-archival.
I prefer to use these colors often in an attempt to lure the viewer with a non-specific design, captivate them with the intense saturation, and hold their attention long enough for them to formulate a general thought of the image. The idea is to attract visual attention, yet with an unclear motive.
Although these hues exist in our natural environment, they exist in a smaller percentage than we are exposed on a daily basis. You are more likely to see some trendy pair of neon pink sunglasses while you are out shopping than you are to see a tropical fish, such as the highcrest triplefin fish (Enneapterygius pusillus) glowing in deep dark tropical waters.
In nature, intense colors and patterns are often used to communicate something important. Many avian mate preferences are predicted due to their ritual-like displays of ultra-violet colors. Poison dart frogs display intensely colored patterns across their backs to warn predators of a deadly fate. Is there however, something to be communicated through certain crystals known to possess ultra-violet activated luminescence?
Our modern environments have become even more decorated with many of these glowing colors in the past fifty years due to fluorescent and ultraviolet lighting, graffiti, and enhancements in chemical pigmentation, while we are overwhelmed and influenced daily by media, and it’s growing accessibility. It begs for our attention, as if to draw us away from some of the more important issues in life. The quest for a hightened sense of awareness through intense visual stimulation and messages has been a journey throughout the history of mankind.
I mostly prefer to paint and draw monotonously, but also spend hours working on designs. I’m thinking about replication versus true image. Is there more value in physical objects than of tech wizardry? I constantly question the value of that which is not physically there; searching out false idols and true leaders.