I know now that it was a “boy thing,” about privileging prowess at the edge of control and having the confidence to let things go all strange…
Dave Hickey, Air Guitar
Within my work, I am interested in painting’s potential as a radically contemporary narrative form. Utilizing brief texts which I write and images appropriated from popular and subcultural points of reference, the paintings draw from narrative theory, contemporary and postmodern fiction, semiotics, feminism, and film theory to explore the formation and shaping of working class masculine identity through mass culture. The work utilizes a wide range of painting languages and culturally derived visual vocabularies to address the issue of gender, and more broadly the expectations and assumptions that are implicit within a socially configured identity bound by class. The visual language of digital culture–derived from video games, early computer imaging, and .jpg glitches–is combined with traditional painting techniques and references to illustration, print media, and graphic design, to create an intertextual network that addresses the articulation of masculinity manifested in Generation X.
I’ve become increasingly interested in the impact of technology on the discourse of painting. As a maker of images, I’m struck by the challenges and opportunities presented by our constant immersion in a wash of screen and monitor based images. Ultimately, I find myself pondering these questions: What should paintings look like at our present moment? Can paintings compete with the LCD screen? How can the visual language of digital culture be co-opted by the practice of painting? Over the past eight years, I’ve devised techniques that allow me to integrate this visual language into my work by the use of an airbrush and cut vinyl stencils to create 8-bit digital fields, painted areas that appear to be lo-resolution .jpgs, and computer derived typefaces. My use of these techniques has depended on the integration of technology as a method to produce the work using Adobe Illustrator, Photoshop, and sign cutting software. As a result, the inherent characteristics and possibilities of these programs have impacted my use of color, saturation, and design. The most recent paintings utilize complex polygonal panels that have been fabricated with the aid of a large format CNC router. The shapes of the panels are based on the polygons that make up video game image rendering and visual artifacts from low-resolution digital images. Both of these sources have appeared in my work as surface treatments, but they now also form the exterior edges of the painting substrate. In this way, my conceptual content is embedded in every level of the painting (images, surface, color, substrate.)