1- What is different from your work than others when painting the figure now?
There are no narratives in my work, only connections and relationships among the formal elements of the piece and between the viewer and the subject. I’m not interested in painting a figure in space, surrounded by things. I’m only interested in the inner dialogue, the extent to which I can touch another person just through paint. To do that, sometimes I have to see how much I can leave out of a piece and still make a connection. Can I say what I need to say by depicting just a mouth, or the tip of a finger, or the tiniest flex of an eyebrow?
2- How important is process versus end results?
For me, process is just as important as the end result because it becomes that result. I want a surface you can excavate. A surface that is as complex and layered as I need it to be. My paintings grow in layers and those layers are what makes you spend time with the piece when it is finished.
3- What is your ultimate goal when painting the figure?
My ultimate goal is to blur the borders between the sublime and the grotesque to the point where the figure transcends being just the subject of the painting. I want the illusion of the figure to become one with the physicality of the paint and convey the complexity of life’s experiences.
4 -What do you like best about your work?
I am such an introverted, emotional person and when I make a painting I can’t help but infuse it with everything I am feeling and experiencing at that moment. My work becomes this powerful, visceral connection to others.
5- What do you do you like least about your work?
I am constantly fighting my tendency to get really tight and precise with the paint. I want my paintings to be full of movement and gesture and texture and sometimes to achieve that I have to embrace chance and throw a little paint from across the room.
6 -Why the figure?
The figure is the most complicated organic form in existence. It is continuously challenging. There is also no better way to connect to people than to paint something they can instantly relate to- the depiction of another human being just like them.
7- Which are your greatest influences?
The work of Ann Harris and Marlene Dumas both had a huge influence on me in graduate school.
8- What is your background?
Originally from Philadelphia, I completed my BFA at Maryland Institute College of Art in 2011 and my MFA at New York Academy of Art in 2015. I am currently living and working in Chicago.
9- Name three artists you'd like to be compared to in history books.
10- What is your favorite work in the exhibition besides your own and why?
"The Motions of Grace" by Margaret Bowland. She has a masterful command of oil painting and everything she makes is so incredibly beautiful. and touching.