I have two distinct but related bodies of work: paintings and wall drawings.
The paintings are usually derived from drawings of familiar things (beds, windows, houses..) emptied to a point of near abstraction. The wall drawings are site-specific meditations on architectural space.
While the content of my work may not be obvious, subject matter drives the imagery: catastrophic events and their effect on human life are the spur to seemingly quiet pieces.
I have made work in relation to the 2011 tsunami in Japan, and much of the domestic work is made in the shadow of the experience of 9/11. I am particularly fascinated by the nature of home and architecture in relation to its opposite – homelessness and destruction.
My paintings appear more photographic in reproduction than they are in the flesh. Made in layers of pure primary colors, they have an optical effect not unlike the pixelated “noise” of digital imagery. Having loved Seurat’s drawings for years, I find myself painting in way evolved from Pointillism.
In both the paintings and drawings, the surface and the light coming from it is an active part of the image. I work by either subtly accumulating or removing paint and erasing graphite from my surfaces, absence, light and loss becoming both subject matter and process.
In The Studio 2020, a short studio visit video by film maker Christian Nguyen