Work > Older work

Solar System
Ink on Paper
30 x 22 in.
2010
Wesley Willis and Progress
Mixed Media on Paper
30 x 22 in.
2010
Dave, thith ith your ma
Mixed Media
Dimensions Variable
2009
Sven Disguised as a Robeast
Paper, Fabric, Ink on Paper
26 1/2 X 14 in
2009
Stumbling Corpse
Chess Pieces and Paper on paper
11 1/2 x 12 in
2009
Attack of the Chupacabra
Collage and Pastel on Paper
8 x 8 in.
2008
Total Ninja Style Lunch Scroll
Paper Construction
78 x 22 in
2007
Charon and Hermes
Paper Collage
10 1/2 x 11 1/2 in
2008
Anubis
Paper Collage
10 1/4 x 10 1/2 in
2008
Homunculus Study
Mixed Media Collage
13 x 14 in
2008
Escape of the Homunculus
Mixed Media
Dimensions Variable
2008
Hey there Little Red Riding Hood
Paper Collage
30 x 22 in
2008
Once, I Told my Boss that I Had to Quit so I Could Sue Someone
Balloons on Canvas over Panel
56 x 34 in
2008
Bushido
Paint and paper on Canvas
24 x 24 in
2008
The Stupid Things People Say
Mixed Media
80 x 18 x 20 in
2007
Two Slit Experiment (Acting like a wave/acting like a particle)
Wood, Horizontal Blinds, and Traffic Cone
Dimensions Variable
2007
Zombie Knife Fight
Wood and Metal
65 x 10 x 10 in
2007

This work is based around a few principles: to avoid thematic and formal repetition as much as possible; to find motivation from a number of sources including science, pop culture, clichéd artistic conventions, myth, and history; and to search out and make room for strange associations both within a single piece and the overall body of work. This last principle is important because it fundamentally informs the first two principles.

I am committed to understanding the art object as a puzzle or problem to be solved by the artist rather than passing that responsibility to the viewer. To that end, I may begin working with an idea but not with a result in mind. Then, throughout the process, I pause to question where that opening idea and its subsequent reactions have taken me, and what the next logical step should be. This questioning opens the work up to the strange associations on which I rely. Through these associations, I find connections that might seem absurd on the surface, but they are completely logical and relevant to the specific object. The ideas and internal logic vary among works, but each grows, changes as necessary, and approaches resolution until reaching a point where no more choices need to be (or can be) made.