"Often I'm thinking about the problem of articulating a surface in such a way that it forces the eye to move over the painting in a particular way. The eye can get blocked at junctions: elbows, knees, ankles, etc. So I look for paths that run across the form in order to connect them. I often deviate from anatomical accuracy in order to generate compositional tension. There are also details that command the eye with psycho(sexual) compulsion: lips, ears, nipples, fingertips, eyes etc. I will use the bulges and indentations of musculature as an inflection point to modulate the impact of those signifiers."
"I think leaving just the right amount of room for improvisation is something I'm getting better at. Too little and my solutions become pedestrian, too much and there is a danger of breaking the thread of believability that ties the viewer to the work."
The artist exaggerates limbs and explodes anatomy to dramatize moments of transformation and to make viewers experience the change vicariously. Surface articulation is designed to force the eye to move across the painting, using paths to connect forms and avoid blocked junctions such as elbows and knees. Anatomical deviations generate compositional tension while bulges and indentations act as inflection points to modulate visual signifiers like lips and fingertips. The process balances fidelity to an initial idea with improvisation, requiring careful limits to keep freshness without losing specificity or believability. Trial and error refines proportions, as with the 2024 painting 'The Sunbather.'
Read at Hi-Fructose Magazine - The New Contemporary Art Magazine
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