How do you decide on the first stroke of a new piece, and does it set the tone for the entire work?
Once I have my sketch on the canvas, the first stroke usually begins with the eyes. I have a fascination with how we can tell stories or have conversations alone through our eyes. Establishing those micro expressions, while often stoic in my figures, help set the tone for my paintings going forward.
Are there any recurring symbols or hidden elements in your paintings that viewers often overlook?
A common element in my work is the layering of faces, often within the silhouette of another head. What began as a fun exercise has now become a motif in many of my paintings. That outer silhouette can often go unnoticed at a first glance, while in other paintings the longer you look the more facial features you’ll pick up on.
How do you navigate the tension between artistic freedom and the constraints of tradition or expectations?
This one is interesting. Navigating between the two has taught me how I can have both at the same time. Most of that has to do with my process now. My digital sketches start feeling similarly to how they did several years ago, but now along the process of painting, I am more open to leaving things to chance and not following my initial “mental roadmap” for how a piece should look. I still have the sketch, the traditional part of my style, drawn onto the canvas but what gets put on top can be different than what I was expecting and that’s the artistic freedom part of the equation.
Can you describe a moment when a painting took an unexpected turn during its creation?
In my painting “Eye of the Needle” I had planned for the background to just be a flat dark green. When I started putting those layers of green, browns, and orchid yellows (the undertones) the textures began to grow on me. Over the next few days I slowly added to it, so that it felt organic and not rushed. Now it’s one of my favorite backgrounds in my works.
How does your mood or state of mind influence your painting on any given day?
I generally prefer working in a calm state of mind and try not to paint when in a bad mood, but it still happens. An example of that clearly showing is with "Agony", featured in this exhibition. There's times when I will only start and work on certain paintings while feeling low, to be as authentic as I can. "Self-Portait I & II" from 2018-2019 are examples of that as well. At the end of a session it feels therapeutic in various ways, similar to how working out or going for a walk can feel for the soul.
How do you perceive the role of imperfection in your art?
Imperfection plays a huge role in my art and creative process. In my process there’s the building of forms and shading for my figures but between those is chance. When staining with acrylics the end result of each layer is often out of my control. The same goes for when I am using dissolving mediums or sandpaper. Each part is like a little gamble and that’s what makes it fun. When I look back at some of my favorite paintings I’ve made, much of it seems accidental to me.
What’s the most unconventional tool or material you’ve used in your painting, and what inspired you to try it?
Sandpaper is probably my favorite unconventional tool to use. It’s become a staple in my process, not only when priming the canvas but long afterwards. When something is looking too “clean” I like to sand it and then build on top of that with more layers. It’s a cycle of creating and destroying that leads to some interesting textures. I especially like the look of “worn” or “aged” paintings and using this tool helps add to that feeling in my own work.
How do you think your art would change if you were to work in complete isolation versus a bustling city environment?
Since I tend to self isolate when I get creative spurs or when I just want to get ideas down, I think that my work would remain mostly the same. While I don't know for certain, I would love to experiment with that one day.
How do you view the relationship between your art and the passage of time?
I don’t like rushing my work, I like to take my time and make adjustments to a piece as the ideas come to my mind. Because of that I like to view my art and time as friends. They help each other out. The longer a painting may naturally take, the more “complete” it may feel at the end, to me at least.
How do you maintain authenticity in your art amidst external influences and trends?
This was actually something I was struggling with about two years ago and have now come to understand. What I believe now is that at heart I am a painter (for now) and I try to keep most of my influences within that medium and sculpture, with a few minor exceptions. Including some of my own works within my influences or mood board is also key. It helps keep some of the same DNA in my art.
What’s a question about your art that you wish people would ask but rarely do?
This would probably be about specific textures/effects within my paintings. When I’m seeing paintings in a gallery, one of the things I spend the most time looking at is the texture in a work. Visualizing how the artists hand moved at different brushstrokes and wondering what tools they use to get certain visual effects is part of what I enjoy about seeing artwork in person. Hearing that same curiosity about my own work from someone would start up a fun conversation.
Do you consider the viewer’s interpretation while painting, or is the process entirely introspective?
It’s about half and half honestly. I’d like to say that it’s entirely introspective but when working on something I often consider how it will look in someone’s home or in a gallery space. I personally don’t want to make something that I wouldn’t like to have in my home. Some of those external elements may include composition, forms, and colors. While the internal elements can include the faces, expressions, and overall feelings of the figures in my works.
How has your definition of beauty evolved through your painting journey?
Through the years of painting, my own definition and view of beauty has come to align closer with my artistic viewpoints. I’ve grown to appreciate imperfections and impermanence and view them as something that can give people, moments, objects, etc their own beauty and uniqueness. I feel that I was more “nitpicky” in the beginning of my painting journey compared to how I am now, though maybe that’s just part of getting older haha
How do you feel your art connects or disconnects from your cultural or personal identity?
I feel that my art often connects with my personal identity on a more conscious level , both visually and through its titles. The things going on within my life do have an influence in my works, just as they do with my moods throughout the days. I believe that using emotion to fuel some of my art has been great for my creativity.
What role does silence or sound play when you’re in the midst of creating a piece?
Both have their own roles. Silence and ambient music are most used when I am doing something that requires concentration such as sketching or line work with a thin brush. And then when I’m in a more loose and freehand stage in a painting, I listen to more engaging music. So they tend to play into each other, like the score to a movie.
