Artist’s Statement

In my paintings I explore issues related to disintegration, disorientation, instability, and attempts to communicate using some kind of written sign, including text translations, asemic writing, and pictographic scripts.  From shifting perceptions, unreliable memories, and vague intentions and impulses we construct an identity and a personal and sometimes briefly shared narrative of the past and a possible future. Most of my influences come from literature, and two authors I often turn to for inspiration are Thomas Pynchon and Samuel Beckett.  These are some of the passages and lines that influence my current work:

“She could, at this stage of things, recognize signals like that, as the epileptic is said to—an odor, color, pure piercing grace note announcing his seizure. Afterward it is only this signal, really dross, this secular announcement, and never what is revealed during the attack, that he remembers. Oedipa wondered whether, at the end of this (if it were supposed to end), she too might not be left with only compiled memories of clues, announcements, intimations, but never the central truth itself, which must somehow each time be too bright for her memory to hold; which must always blaze out, destroying its own message irreversibly, leaving an overexposed blank when the ordinary world came back.”
― Thomas Pynchon, The Crying of Lot 49 (1966)

“Where now?  Who now?  When now?”
― Samuel Beckett, The Unnamable (1953, trans. Patrick Bowles)

“Shall I project a world?”
― Thomas Pynchon, The Crying of Lot 49 (1966)