By using painting’s trace of time and contemplating the traditional, I call into question a deeper investigation of the enigmatic nature of Identity. I am suggesting a behavioral-historical context.
My paintings induce a shift of stepping into a painting. The impression becomes an inside-out figuration much like entering a portal. By using clothing apparel or fashion cues within the canvas, I am dressing the viewer. The viewer becomes a cross-dresser.
Garment fashion or costume considers the many relationships between gender identity, class, profession, ethnicity, nationality, politics, economy, and/or technology. Clothing—in addition to being necessary, sometimes fun, and always interesting—is about power. Clothing is deeply symbolic. A highly visible cultural custom, it is used to establish, break, merge and redefine tradition or that which we think of as normalicy.
My paintings often take objects either directly or indirectly from the ubiquity of real place and time to reiterate a visual framing of the figurative. I am interested in a way to build a framing that shares reference.