In order to understand a thing’s relevance, we need its adverse or adjacent-other to compare it to. My paintings reside in this flux - romanticism overlapping progress - in order to understand how the photo functions as cultural memory.
In my paintings, I reappropriate traditional techniques by deconstructing current understanding and meaning to better gain new and different usages.
Echoing the printer, I use only four colors: cyan, magenta, yellow and black. The work develops in the same manner as a print, left to right. The finished product hangs like a movie screen, slightly swaying when a person walks by, disrupting its ether.