This image was from an installation I did at Theodore:Art in Bushwick, Brooklyn. It consisted of two wall paintings in conversation with a few small paintings of mine. The wall paintings were not permanent. When the exhibition ended the wall works were whited out. I liked the impermanence and performative aspect of this type of installation. Particularly with painting, which id often viewed as a collectible commodity. The wall paintings are done intuitively on sight. I work from my past work and make decisions based on the space.
Overall, in my work, I favor the emotional level of art over a stricter narrative format and my works utilize geometric constructions, overlapping and a juxtaposition of flatness and depth. The paintings reveal themselves slowly to the viewer, unfolding layer by layer, piece by piece. I like to think these forms are shifting and bumping, stacking and collapsing, reflecting life. How we bounce around, make mistakes, contradict ourselves. Nothing fixed, nothing certain. Working in this field of geometric art, I bring a personal and idiosyncratic touch to this genre and address issues of uncertainty, imbalance and anxiety. Much like the state of the world today.

I start a painting with multiple irregular lines and grids. I then brush on a thin wash of transparent white, which partially obscures this under-painting. This creates a muted scaffolding, or substructure, to build my stacking forms and lines. As I paint, one decision determines the next, building up my wobbly stacked forms. Unlike most geometric painting, which is preliminarily sketched out and planned, I work intuitively, one decision determining the next.
I favor the emotional level of art over a stricter narrative format and my works utilize geometric constructions, overlapping and a juxtaposition of flatness and depth. The paintings reveal themselves slowly to the viewer, unfolding layer by layer, piece by piece. I like to think these forms are shifting and bumping, stacking and collapsing, reflecting life. How we bounce around, make mistakes, contradict ourselves. Nothing fixed, nothing certain. Working in this field of geometric art, I bring a personal and idiosyncratic touch to this genre and address issues of uncertainty, imbalance and anxiety. Much like the state of the world today.

I start a painting with multiple irregular lines and grids. I then brush on a thin wash of transparent white, which partially obscures this under-painting. This creates a muted scaffolding, or substructure, to build my stacking forms and lines. As I paint, one decision determines the next, building up my wobbly stacked forms. Unlike most geometric painting, which is preliminarily sketched out and planned, I work intuitively, one decision determining the next.
I favor the emotional level of art over a stricter narrative format and my works utilize geometric constructions, overlapping and a juxtaposition of flatness and depth. The paintings reveal themselves slowly to the viewer, unfolding layer by layer, piece by piece. I like to think these forms are shifting and bumping, stacking and collapsing, reflecting life. How we bounce around, make mistakes, contradict ourselves. Nothing fixed, nothing certain. Working in this field of geometric art, I bring a personal and idiosyncratic touch to this genre and address issues of uncertainty, imbalance and anxiety. Much like the state of the world today.