While looking out the window at the transient landscape, I take advantage of the limitations of my IPhones’ camera, in order to capture a transformed and distorted scenery. These blind spots of technology, created due to speed or angular shifts, are repeated in the works through a process that is based on the unseen, and composed out of deformation.
The fractured photographs are being used both as printed elements in the works and as references. Painted in reverse on fragile plates of glass, I start with the foreground of the painting and build up the layers backwards, creating my own blind spots. With every brushstroke added, I hide the one before and decrease my sight and the control I have over the revealed image. I go back and forth into the layers of paint, adding it or scraping off, in order to trace my way into the front and visible layer.
While referring to social, political, and emotional models, my works give expression to an anxiety brought about by a deep-seated sense of impermanence and lack of stability. Through these undercurrents, with their associations of destruction and reconstruction (of the house and homeland), the paintings examine the fragility of human, historical, and natural structures, casting doubt on the stability of Painting.
394 McGuinness Boulevard