I conduct experiments catalyzing material processes into concrete forms. These forms make up the artifacts of my artistic practice. Through alchemical procedures I gain knowledge relating to the chemistry, biology and physics of a wide range of art materials, household ingredients and toxic chemicals. The resulting imagery often depicts deep space or deep nature that is both macrocosmic and subatomic. Like an alchemist’s use of the Philosopher’s Stone to turn base metal to gold, I use investigational chemical processes to achieve a painting capable of immersion into environments that evoke a desire for interaction and exploration. The work exhibits a culmination of many alchemical transmutations that reference the abstract geological landscape.
To gather and create the materials for my paintings, I utilize vats filled with a chemical mixture and a singular geological element. The mixture permits the geological component to generate and produce the foundational materials for my paintings. Layers of paint on the geological component are eroded away, exposing coatings of subterranean wax that react with the salt in the mixture to produce crystals. These crystals then break off from the center mass and become trapped between resin-based stalactites and stalagmites. As the vats fill, new material compounds can be collected and repurposed in the subsequent painting. The painting then continues to grow and change until I feel I've reached my personal updated interpretation of the Philosopher’s Stone. At this point, the progression is frozen in resin, or by some other means, and displayed as an artifact of the transformation and a sample of a newly discovered land surface.
My studio has become a laboratory, a workshop, a testing ground, a museum, a home, and a foreign environment, but perhaps most importantly it is a place of imaginary solutions and motivating surprises.