I locate my creative research within the margins between painting and performance, a stance that is usually at odds with itself, but I find this gap to be a vantage in which I can confront all sorts of personal and collective boundaries. These boundaries often exploit how thin the gap is between the public and the private while trying to undermine the habitual in the public spaces through various actions while simultaneously attempting to extend the dialog of contemporary painting. I point to what is inside and outside a “painting” and also how its various framing devices create networks of meaning while outlining accessibility. I am trying to provoke questions about the nature of art objects while camouflaging personal discourse to create new events for aesthetic experiences.
I perform primarily in public spaces as pop-up exhibition sites because they are primed with potential contradictory impulses such as leisure and dissidence. These spaces belong to everyone and no one, which provides more democracy and anonymity to my process.