An Apology of Painting
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Recent works have presented personal observations of the world's inner-functionality, as connections between my experiences which existentially have little relationship or concern for one another. By breaking down the world into smaller, manageable pieces, the world becomes empirical and credence is given to every basic form. These formulaic, analytical observations have built up a language that mimics structure and pattern. While these works visually have a plethora of poststructuralist appropriations from geometric abstraction, lozenge camouflage, other works by artists, crystalline form, and cartography, it is impossible to dismiss any one reference conceptually. What results from the entanglement between conceptual and visual is a calculated disorder, a seemingly recognizable structure with an inherent chaos disrupting the comprehension.