Artist Statement (CalArts MFA, EA 2012)

Artist Statement submitted for my application to the MFA Experimental Animation program at CalArts for fall of 2012.


Artistically and intellectually, I work to explore the functionality of our universe, as well as our relationship with it, ourselves, and those around us. I investigate these concepts through the act of capturing motion -- both physical and emotional. I look to slow down, zoom in, and highlight the moments directly preceding a shift. It is in these moments that I believe some truth appears.

Through my work in both theater and painting I have sought to initiate a process; one of thought, or feeling, of connection, of reflection, curiosity, and/or of understanding. I believe that we are currently in the process of a major consciousness shift, and that a large part of this shift revolves around how we relate to one another. We presently live in a mass mindset of separatism. Much of the media presented to the public today supports an us v. them, right v. wrong mentality. I think that this is an extremely dangerous point of view, and is condoned and rewarded time and time again. The most personal element of this for me is when it is applied to the concept of gender, and the issues that the LGBT community faces. We as a people attempt to function and rationalize within a black and white structure, yet the true nature of life is anything but. It’s grey, it’s red, it’s ultraviolet, it’s a chaotic conglomerate, and we doom ourselves from the start by approaching the world as if there were only two options for anything. I am fully dedicated to the LGBT community and hope that through my art I can help to facilitate a process of reflection and understanding.

I seek to share honest information in a way that opens and sparks the mind and heart. I believe this can be achieved through thoughtful composition, use of scientific study, and trust in artistic intuition. Throughout my humanitarian inquiries, I find it extremely important to remain educated in the sciences, to know what is going on in the world of physics, neurology, and sociology. The verbiage may be different, but it doesn’t take long to see that the functionality of each reverberates throughout the other. Studies are constantly being released examining our ever-changing world. I believe that to create art that is present and accessible; one must have a current understanding of how the universe/world behaves. Remaining educated in the various sciences is a large part of that for me.

The majority of my projects are fueled by the desire to present something that takes the viewer out of their pre-determined societal constructs and allows them to experience the work purely as a human being. I am exploring different ways in which I can achieve that effect. I began to explore universal accessibility in my series of Cosmos paintings. That personal project was about letting the natural abstract patterns create themselves, while I was able to guide the image with color, transparency, and texture. I believe that by creating and witnessing images that reflect the flow of the universe, we are able to step outside of ourselves and view the art openly. Another approach is to utilize studies in how the brain processes and organizes information. In my animated self portrait piece I began experimenting with the concept that was illustrated by the bird in a cage optical illusion, combined with the concept of micro reflecting macro. By placing close up photographs of various man-made and naturally occurring objects next to each other in rapid succession, I attempted to create what I call a “blinking universe”.

As I create I try to maintain a seductive quality throughout my work. This visual seduction is part of my scientific application, as it can be used to relax and open the mind. It causes a physiological reaction. Pupils and blood vessels dilate when aroused (not exclusive to sexuality), and therefore are able to receive more information and more oxygen to process that information. One of the best tools of seduction is the visceral response. I believe that by creating a visceral response it momentarily clears the mind in order for the viewer to go beyond their day to day mindset and truly be with the art; able to freely feel, think, and/or make connections that otherwise might have sat dormant. A moment used to encourage a physical feeling outside of the logical mind, and in turn begin a personal and internal process. I like my art to live right on the edge of the unknown, the edge of ambiguity, the edge of possibility. It is a place the mind and soul can soar from.

Trusting my instincts is an essential part of my creative process. I believe strongly in the idea that ambiguity breeds creativity, and implement that idea whenever I approach a project. There is always much thought and meditation that goes into a piece, but when it comes down to the moment of creation I must remain open to the unknown and trust my instincts. I have to fight off the part of me that needs control and linear thought, because if I do allow myself to let go of the immediate brain, to welcome the subconscious and its relationship with the medium at hand, then it tends to result in something more than I could have ever dreamed. It is essential to my process to listen carefully to my intuition and to the medium at hand; finding the balance between my conscious and subconscious self.

Through the act of capturing motion and creating a dynamic marriage of sensory input, I seek to explore, question, and feel our universe as well as humanities relationship with it. I create out of necessity; a necessity for expression, understanding, and mental evolution.