Art can envelop us in an experience in which immediacy and self-reflection are wrapped around one another so tightly that neither can be understood without the other.

Nine years ago, I had the vision of a woman moving through a tiered garden. Her gestures shaped the world surrounding her, adding to the life of the vegetation growing in the garden and her perspective of it. Since then, I've worked through Merleau-Ponty's conception of "skin" to realize aspects of a body moving through space. The term “skin” denotes a mode of perception and expression that informs the surface of a body. It is made by patterns of movement, shapes, forms, habits, and goals that create indissoluble connections between things. It is the meeting place of exchange and transversal, connecting the inside with the outside, the self with the other.

Unconventional "portraits" of world subjects are the focus of my studio practice, which includes painting, sculpture, mixed and digital media. Abstractions following the spatial logic of affine geometry—a geometry of betweenness —delineate spaces for exploring mobility in painting. Oil paintings use the affine movements to explore a sensation of movement and light in landscapes, architecture, and objects. Colors, forms, shapes, and proportions convey aspects of a subject abstracted by rhythmic orchestrations of light and shadow. The abstractions evoke imagery whilst refraining from fixed representations, releasing the colors and shapes into slippery relationships between figures and a ground.

Plexiglass sculptures imagine figural movements synthesizing points in time. In one body of work, various shadow projections of an object, sculpted in a 3-D modeling program, are traced through the course of a day and used to produce a series of thin relief sculptures. A selected of the reliefs are intertwined, creating a new form of the object whose body cast the shadows. The final sculpture expresses chimerical emergence and envelopment.

Woodcut and vinyl reliefs diagram a mobility of bodies and the concept of a 'cut' in a complex plane. The mid-twentieth mathematician Gilles Chatelet described the body as a 'cut-out’ that makes a point on a plane “flesh” by enveloping it within a complex plane. This, according to Chatelet, is envisaged through gesture and relationships of exteriority. The wood-cut and vinyl reliefs imagine diagrammed gestures and parts shaping the perception of figures enveloping a complex plane.

Other works on this site, including collaborations in digital media and painting, writing, and experimental video, are intended to give my audience a preview of other bodies of work relevant to, but not directly drawn from, primary theories shaping the core of my studio practice.