While my work primarily takes the form of performance, I started my education in the visual arts, painting and sculpture specifically. I was drawn to the repetitive, gestural, often labored drawings of Frank Auerbach and Alberto Giacometti. The mark of the painter and the field of the sculptor have stayed with me to yield a figurative performance artist.
Much like a painter, my work focuses on the portrait and city scenes in and around the area of Chicago or Louisiana where I have lived. My work is expressive, but not expressionistic—that is, it is not concerned with creating a visual expression of an emotional or spiritual state. Rather it attempts a perhaps impossible task—to resolve the experience of being in the world in a body, with all its faculties and requirements.
My experience of the world is oftentimes a confrontation with chaos, and yet my capacity as an artist allows me to craft some order and record that process and product in performance. This ambition with performance results in my developing an intense relationships with my projects. The people and locations that surround my projects oftentimes lead the way, inciting the work itself—life leads to the art in many cases.
More recently I have begun focusing on setting intentionality into my performances—a kind of ritual, rigor, and endurance embedding in each project. Eventually isolating my investigations in my own body, I have continually reworked the body’s movements with intention, responsiveness, and care. My obsession with capturing this elusive movement vocabulary has led to many overlapping layers of work, performance series’, projects, and workshops. For me, this performance of portraiture is both a tragic and therapeutic process that not only serves my needs but asks questions of life in general.