Artist Statement

Just In This New Way
Just In This New Way

Language was invented so that people could conceal their thoughts from each other - Charles-Maurice de Talleyrand

A Brief Aside

Most of my projects have separate artist/project statements associated with them. Attempting to round up ALL the ideas from projects I still see as current is a trying task.

I believe that life - and perhaps the idea of, "Living" is one of a constant state of metamorphosis and growth, pruning, wild changes in directions and coming back to people/places/things that feel familiar: In my life I travel, in my art I travel as well. I go on a trip, change drastically from your experiences, you come back home to plan the next trip and then, you go.

To have one statement to associate with all my work would be a limiting factor, in vast ocean of limiting factors in our lives - all of ours lives. I find that the conditions of creating a piece of artwork are always different, thus the art created will also be different. If it isn't, the artwork is certainly suspect.

If I was told that tomorrow, it would be law that I must wear a pair of pants, my reaction would most certainly be to wear a dress and give anyone who attempts to criticize me the Middle Finger. Similar feelings are bubbling up just writing this statement. I'm sure many other artists can relate. Perhaps, that's just who I am. I understand that not everyone is that way.

I will write about certain specific parts of my work, to be used more as a guide of all my work in whole, which I think would be of wonderful help. Even with the above ideas, it's certainly true that one cannot get too far in anything, without traveling in a straight line for quite a while. I do not lack perseverance, what I posses is curiosity.



I have broken my right hand four times. I have acquired nerve damage from a tramping mishap (it was the closest to death I've ever come). My vision is piss-poor. My right hand is in constant pain from hitting a kid in the jaw when I was twelve. It hurts. It hurts, right now.

I do not possess any gift for rendering.

This probably at least suggests, if not solves the question of, why my drawings look so stressed, brash, heavy with line, contrasting and stark. I do also like very old woodcuts and etchings.

I find that drawing to be extremely important to an artist. I usually boil any sort of mark making to be drawing - even a dance is drawing to me. A sculpture can be a drawing. A clock tower probably can't. I would love to someday design a clock tower, let's say, but I couldn't make one, without first making a drawing.

What drawing really is, is the ability to think with pictures, outside of one selves - to be able to express and communicate with pictures, rather than words or sounds. It has nothing to do with rendering perfectly with a dry medium. My favorite drawings are what must like like the most corrupt drawings to an outsider. My language.

I do like to practice drawing like some would keep an athletic training schedule. It's to keep oneself in shape. I also believe a drawing can most certainly be a beautiful and wonderful finished piece.

Type and Writing

The Next Big Thing

Individuality is ignored, when identity is asserted. - Robert Anton Wilson

I use type in a lot of my work. The typeface usually used is Avant Garde Bold Oblique, with a terribly astounding stroke. As well as the exceptional irony of using a face called, "Avant Garde" in artwork, I found the face - especially the Bold Oblique variety, extremely dull, lacking any serif or surprises in size or shape. Thus, it's more of a foundation of which to put ideas on top of, than anything to express its own ideas with. Sometimes I use Futura, which has a name that has the same overused irony to it, as well as being overused itself.

My work is sometimes labeled with words or sentences using this typeface. I associate words with the ideas of: linear and analytical, left-brained thinking and pictures (drawing/painting) associated with nonlinear and synthetical, right-brained thinking. I like the interaction between the two thought processes on the same piece.

I also find that the writing changes the meaning of the picture it is on in very strange ways. Usually, the picture will reinforce the text its put upon.

I think that we like to label ourselves and what we do the same way, regardless of if our reality actual fits the label we choose. I admit that I do this, as much as anyone. Thus, false realities can be made, simply by labeling what we want to think our life is, with what our life actually is. I think we do this so often collectively, that it becomes almost transparent. I think we all value what we'd like projected onto the reality, more so than the reality itself. Strange, though, if you think about it.

Much of my work attempts to make a mockery or satire about the entire idea.

Alternative Identities

Clown Day
Clown Day

There's many times projects so thoroughly divert from my, "usual" work that it makes sense to create a temporary alternative identity to complete the project. Thus, the alternative identity becomes a major part of the project itself and allows me to fulfill a larger vision. A keen observer will see similarities in style, form/content and execution to be quite sure, but a semi-anonymous state of being becomes extremely helpful for me. As well as pretending to be someone else, it also gives me license to not be that identity, whenever I want and sometimes, ever again. You can also take what you've learned from a parallel life and invest it into your, "main" work.

The idea of alternative identities is so common in things like music, where musicians will start side projects, different-but-perhaps-related to their, "main" band; or like in books, where a pen name is seen as common place. It absolutely befuddles me that it's seen as almost sinister for a visual artist to do the same. It may have something to do with the Cult of Personality and the idea that you are supposed to become what you actual attempt to project.

I've received quite a bit of confusion on the relationships of my alternative identities. Many people don't understand where my life ends and this other identity begins. Sometimes I don't know how to introduce myself in my own openings, starring an alternative identity.

What usually happens is that artwork created by an alternative identity is half based in life - my life and half made up: fiction. You realize after a while that most all artwork created, is also created this way, no matter if you use a different identity or not.