Intrigued by the formal boundaries of painting as they relate to objects and architecture, I use materials, space, color and geometry to study the limits of these boundaries. Through the Modernist tradition, painting has been preoccupied with pictorial illusionistic space within its own picture plane. In contrast, I strive to open up and weaken its boundaries. It is my goal to create a painting practice that critically examines the use of geometry and color in today's society simultaneously relating to the formal context of a specific site of display.
Exhibiting simple geometric patterns in selective colors, my paintings and objects resist the illusion of spatial depth. The fields of geometric painting and reductive art have inspired my study, as well as items of everyday use and consumption, including flags, traffic signage, decor, and fashion, even sports and game boards. My work investigates the notion that an object acquires meaning or renounces meaning depending on the viewers' ability to read it in relation to its cultural and physical context.
Pluralistic in a formal and spatial sense, my work addresses different techniques and materials while oscillating from site-specificity to nomadic practice, with the objective being flexibility and openness. By integrating painting with architectural space, I negate a fixed view of the work. This condition invites the viewers to trespass their habitual thinking and to dissolve preconceived ideas.
My architecture, influenced by the theories of critical regionalism, questions the modernist paradigm of standardization and repetition by including local materials, on-site craftsmanship, and unique details. Through a sensitive treatment of shape, color, and light, I aim for the designs to relate to the users and specific site conditions, engendered by climate, culture, and the spatial qualities of the site. As a person moves through my architectural spaces, his/her experience is dynamic and ever changing.