JIGSAW (2023)

Earlier this year I experienced a bit of creative's block. Similar to writer's block, but with painting.I couldn't figure out what I wanted to create, and the lack of ideas seemed to spiral into thoughts of "what if I never get inspiration again?" Of course, that is silly and ridiculous; I knew I would get inspiration again, I was just annoyed it wasn't arriving on demand.

But instead of sitting around, I decided to just play in the studio. No goals, no sketches, no pressure. I pulled out every art supply I have- from oil pastels to charcoal to oil sticks (for those unfamiliar, they are basically oil paint in stick form)- and just made art. While a few did in fact inspire ideas for future projects, there were a few others that just found their way into the garbage. There was one painting though- of an abstracted iris made from inks and watercolors and gouaches and graphite- that I couldn't wrap my head around. I loved the passion and its brushstrokes and how the various paints were almost ghost-like renderings of themselves, but it didn't feel finished and I wasn't sure how to get it there. So I placed it onto my drafting table and tried to ignore it.

Then one night a few weeks later- just as I was about to close up the studio- I was struck with an idea and quickly cut the painting into twenty-eight equal 4"x4" squares. I poured through all of the flower photos I've taken over the past few months, picked my twenty-eight favorites, and then set about sketching a different bloom per square. (I'd say they were blind contour drawings, but I cheated every so often and looked down for reference, so let's call them "failing eyesight" contour drawings.) Wanting just a little more something I added one solitary metallic gold line per piece- a reference to an artist mentor I have, as well as a nod to the gilding of Renaissance paintings.

And just like that, I fell in love with them. The simple white ink-work against the complex and dynamic backgrounds, the black paper that plays tricks on your mind about what is and what is not negative space, the shine from the gold ink- they came out even better than I could have imagined. 

Curious as to why I settled on the name "Jigsaw" for the collection? It is actually very straightforward. While each of the twenty-eight pieces are complete paintings on their own- when they are arranged together in the correct order, you're able to step back and see the original iris painting- just like a jigsaw puzzle.

ROARSHOCK (2022)

What do you see?

Inspired by the work of Swiss psychiatrist Hermann Rorschach, ROARSHOCK encourages viewers to explore the realm of subjective perception and its profound impact on our understanding of the world around us.

Hermann Rorschach aimed to unearth a test that could bypass conscious manipulation, delving into the depths of the subconscious to reveal an individual's true self. His development of the Rorschach test represented a significant departure from previous personality assessments, as it relied on the unfiltered interpretations of inkblot images. Rorschach firmly believed that one's mind could not deceive itself when confronted with these ambiguous stimuli, resulting in a portrayal that accurately depicted an individual's innermost nature based on what an individual saw in his inkblots.

I was captivated by the notion that two individuals could view the same image or encounter the same event yet interpret and react to them in vastly diverse ways simply due to their individual perspectives. (This idea felt even more significant when viewed against the backdrop of contemporary society with its ongoing tapestry of societal and political events that continually shape our individual perspectives.)

While studying Rorschach’s inkblots, another source of inspiration emerged when I encountered the awe-inspiring images released by the James Webb Telescope. These celestial vistas showcased the vast unknown, inviting viewers to embark on their own personal explorations. What struck me most was the remarkable divergence in people's reactions and experiences when confronted with the enigmatic beauty of the cosmos. Some were captivated by wonder, others found themselves unsettled, and a few were even consumed by a sense of dread.

I intertwined these two threads of inspiration throughout this collection, which is deliberately titled as a misspelling of Rorschach's name. The intention is to shed light not only on the inherent subjectivity of personal truths, but also on the potential for our perceptions to rest upon fallacies that we may remain oblivious to. Each painting, featuring celestial inkblots of my own creation, serves as a powerful visual reminder that our interpretations- shaped by personal experiences and biases- form the very foundation of our understanding.

ROARSHOCK invites us all to question the very nature of truth and reflect upon the fascinating interplay between our interpretations and the stimuli that shape our world. Through this exploration, we are encouraged to embrace the rich diversity of human perception, fostering empathy and deepening our appreciation for the captivating complexity of the human mind.

SUGAR & VICE (2022)

Why popsicles? Because of the nostalgia and the mess. Everyone has a childhood memory that involves a popsicle of some sort. Doesn't matter if they were homemade or store bought, if they were fancy or were nothing more than artificially dyed sugar water in plastic sleeves- it's a memory that we all can relate to. How our tongues and lips would get stained, the pools of melted colors left behind when they melted.

Sugar & Vice (a play on the nursery rhyme that girls are "sugar and spice and everything nice") is the story of growing up. The sometimes funny, sometimes sad -oftentimes confusing- road between girlhood and womanhood. How those stages melt into each other- neither having a definitive beginning or end, and how those experiences leave behind "stains" that influence what we think and who we become.

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DREAMS IN COLOR (2018-PRESENT)

Vibrant, abstracted pools of color paired with intricate line work.