My practice is equal parts studious and playful. I don’t consider art an outlet for my exuberant curiosity so much as an inlet: a way to structure deep and intensive learning free of classroom learning’s rote, impersonal tradition. For me, structuring learning around the arts allows me to sidestep educational preoccupation with “mastery,” and to instead prioritize the experiences of curiosity and wonder.
While the images in the Reflections series presented a clear technical challenge, the conceptual questions were far less cut and dry. The images in the series don’t quite know what they are. At first glance they appear to be portraits – the artist’s figure is usually positioned both as the largest object in the composition and at site of least distortion in the image. The objects and interiors that surround the figure appear to recede into areas of less compositional significance. Still, these images strike me first and foremost as still lives. The objects in which the images are reflected are present in every drawing – sometimes visible and bounded, sometimes only implied by the distortion of the image. Some images allow the object to be identified easily, while some offer only hints to the fact of the reflective object: a handle, a hand, a reflected tile countertop, or even simply the pattern of distortion itself. I aim for these drawings to invite viewers to move between visual frameworks as they contemplate the pieces: to see them in turn as independently distorted images and as drawings that foreground the distorting object itself.