About

Contemporary Artist

I aim to bring focus to certain frailties of the human mind that are all too often shied away from, by manifesting them into physical objects of beauty and reflection; The many seemingly obscure sorrows that in reality very much affects us all. In short, my work explores the deeper existential yearnings one might happen upon on a quiet Sunday evening with nothing much to do, always looming in the background, the very struck of melancholia. Instead of deflecting these feelings with an endless array of distractions, I wholeheartedly embrace and process them into works of art. These moments are my major source of inspiration and I hope to stir up the same in the viewer and encourage them to pause and reflect upon it. I feel this is the purpose of art, the utility of creative expression. “Art for art’s sake” is a silly thing to say while it is regarded one of the highest forms of communication, and what is communication if not the exchange of information.

Having a strong background in traditional musical instrument making and woodworking, my work often takes on a highly physical form in which the perceived depth is not just a skillfully crafted Trompe L’oeil, but an actual 3-dimensional, meticulously constructed, sculptural surface with multiple viewpoints to choose from. In order to bring clear focus to the subject matter, I tend to create boundaries in the form of frames, if only to break them. The expansion of the traditional flat plane into more sculptural and experimental dimensions always came very naturally to me. Being a very hands-on kind of person from early on, I often felt that there was something missing from traditional painting and perhaps overly present in sculpture; Thus the ever so satisfying intersection between the illusion of a painting and the tactile presence of a sculpture is what I strive for and hopefully that is clearly evident in my art. In this way I am often crossing traditional categorical borders from sculpture to painting to assemblage and vice versa, forming a strong hybrid. To me, many of the various materials I shape and manipulate have inherent psychological qualities when brought to light and closely examined, and as such directly influence the direction of my work.

Visually, I’m very much attracted to the sleek, efficient and highly geometrical shapes of technology. I hope to emulate the feel and precision found in much of modern electronics and architecture. As of recent, I find myself drawn to an imagined aftermath of a utopian future in which nature has taken back it’s rightful throne. I construct brooding industrial scapes and futuristic surfaces only to heavily decay and distress them in an effort to symbolize the way of all things in life; Everything must come to an end, even the things that are not even here yet. It is a beautifully consoling thing to contemplate and internalize. An ever-present, all encompassing memento mori.

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